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singular-yike · 7 months

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Getting into Len'en Lore: Part 2

Let's get straight back into it!

Game 4: Brilliant Pagoda or Haze Castle

And here's the 4th entry, the game of all time, Len'en Ten'eisenki ~ Brilliant Pagoda or Haze Castle (abbr. BPoHC).

This game retains the team system, but also adds a route system, and brings back every character introduced so far. So there's a lot of dialogue to go through.

Story Reading Order

Prologue

Demo Version Dialogue

Tutorial

Shrine Team's Story (Haze and Brilliant can be swapped) 4.1. Haze Story → Haze Ending 4.2. Brilliant Story → Brilliant Ending 4.3. Neutral Story → Bad Ending → Good Ending 4.4. Extra Story

New Emperor Team's Story (Haze and Brilliant can be swapped) 5.1. Haze Story → Haze Ending 5.2. Brilliant Story → Brilliant Ending 5.3. Neutral Story → Bad Ending → Good Ending 5.4. Extra Story

Official Profiles

Preschool Team's Story (Haze and Brilliant can be swapped) 7.1. Haze Story → Haze Ending 7.2. Brilliant Story → Brilliant Ending 7.3. Neutral Story → Bad Ending → Good Ending 7.4. Extra Story

Scoundrel Team's Story (Haze and Brilliant can be swapped) 7.1. Haze Story → Haze Ending 7.2. Brilliant Story → Brilliant Ending 7.3. Neutral Story → Bad Ending → Good Ending 7.4. Extra Story

??? Team's Story (Haze and Brilliant can be swapped) 7.1. Haze Story → Haze Ending 7.2. Brilliant Story → Brilliant Ending 7.3. Neutral Story → Bad Ending → Good Ending 7.4. Extra Story

Note: On the BPoHC Reading Order You might notices that the official profiles are in between the main story routes this time. Let me briefly explain my thought process: The Shrine and New Emperor team's stories are what I personally think are the "main stories" of the game, while the Preschool and Scoundrel teams act moreso as supplementary material. Therefore it'd be useful to have read the official profiles first beforehand to see easier understand what the "sub-stories" are talking about. As for the ??? team, also known as the Secret team, they're unlocked after beating the Ex+α stage with all the other teams, so they're clearly meant to be experienced last. To be honest, this game really is a lot. So I can't guarantee that this is the best order. If you don't mind, gimmie some feedback so that I can refine it!

Additional Reading

Music Room Comments

Spell Cards

Upgrades

Achievements

readme.txt

Games 1-3: EE to RMI Update

Above: Title screen of the updated EE, note the change in the first kanji, now it's 連.

After BPoHC, JynX went back and updated the first three games, rebalancing the games, changing the title to use the new kanji for Len'en, and most importantly, adding a ??? team character as a new playable in all three games.

It doesn't really matter which order you experience these in, just know that chronologically, the RMI scenario takes place at the same time as everyone elses, while the EE and EMS scenarios take place after BPoHC.

Story Reading

??? EE Story — Main Story → Bad Ending → Good Ending → Extra

??? EMS Story — Main Story → Bad Ending → Good Ending A & B → Extra

??? RMI Story — Main Story → Bad Ending → Good Ending A & B → Extra

Note: Story Structure Everything I've said about the story structures about the first three games still apply here, so bad endings still don't actually happen, the two good endings in EMS are almost identical while the ones in RMI have more differences.

Album 1: A World That Isn't Fantasy [Frontside] and [Backside]

Next comes the series' first album collection, A World That Isn't Fantasy ~Len'en Mugenri~ (abbr. AWTIF), it's separated into 2 albums: [Frontside] and [Backside].

You can listen to and purchase the albums on bandcamp:

World That Isn't Fantasy [Frontside] ~Len'en Mugenri~

World That Isn't Fantasy [Backside] ~Len'en Mugenri~

This is the only way to obtain the digital booklets that come with the albums, though the text within is publicly available for translation, and thus translated on the wiki, images are off-limit.

Despite being an album, even this has quite a bit of reading material, so here we go:

Story Reading Order

Backstory to albums' in-universe creation — Summarized on the wiki, but information comes from: 　・"Mugenri Revitalization Committee" Twitter list 　・Len'en Project 5th Anniversary Video! album announcement

Booklet Content — Short Story — False Spirit Account

Additional Reading

Unlike the games, the album doesn't come with music comments. Instead, JynX released comments on the new tracks on pixiv FANBOX, which can be read here:

An Endless Beginning & Virtual Parallel Universe

Ivory Cup ~ Cup of Eibon & ■|ack◆0x・uG

Today is the Day We Duel for Real! & A World Lacking of You

Alice Leaping Atop Lily Pad Ice & To Mugenri

End of Part 2

There is... so much, to this series that only has 4 games and some change in it. This is honestly already enough for you to start, the next and final part will just be on the spinoff game and to wrap up some obscure stuff.

So if you don't care about that, or just don't want to get overwhelmed by what else there is right now, you can start your journey already.

#len'en project #len'en #len'en lore

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flutternozzle · 2 years

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paramore’s “b-sides”

so, there’s this fan-made compilation of paramore’s rare songs, that originally came out in around 2008. it collects practically all of their hard to find non-album songs, and to this day is still one of the first things you’re gonna come across when you start looking into these songs, which i think is pretty impressive staying power for a fan-made compilation from nearly 15 years ago!! 😧

but the title “b-sides” is incredibly misleading, because it contains everything from actual b-sides, to hayley’s solo demos, to soundtrack and compilation album appearances and more?? and as i’ve looked into it, there’s very few sources that actually discuss the song’s origins, and some of the sources that do are from around the time it was first made, and are massively outdated and incorrect now.. so it could be pretty confusing for people trying to look up info about these songs 😵‍💫

so i thought i’d make my own post about it, partially cos i just like doing this sort of thing, but also for anyone who might be interested in learning some more about some of paramore’s more obscure songs!! ☺️

because this post ended up waaay longer than i thought it was gonna be, i’ve put it under a read more, and although this might be far more information than most people will ever need, i had fun doing this and even learnt some things i didn’t know before!! 😅

so to start.. as far as i can tell, this is the original tracklist for “b-sides,” when it was first released in 2008:

decoy

another day

oh star

stop this song (lovesick melody)

just like me

temporary

my hero

stuck on you

hello hello

when it rains (demo version)

emergency (crab mix)

rewind

this circle

adore

my number one

here we go again (live)

sunday bloody sunday

this is the version that my friend sent me song by song over msn in 2009 and was how i listened to these songs for years 😅 but the tracklist has been revised a lot over time, removing some songs and adding a tonne more, like for example, the version of the album on youtube (which has over 500k views, and is probably where most people will discover the album) also has:

decode (acoustic)

i caught myself

throwing punches

love’s not a competition (but i’m winning it)

swim in silence

stay away

native tongue

escape route

and according to the paramore wiki, the most recent version of the album (altho i have no idea where this is actually available for download??) removed some of those and added:

hallelujah (demo)

breathe (until tomorrow)

teenagers

oh star (demo)

in the mourning (demo)

which i’m pretty sure makes that the full list of songs that have been included in the compilation at one point or another 😧 and as you can see, there’s a tonne of different songs from all throughout their career.. but they’re all just lumped together with no differentiation, and in a kind of random order 😅

so, getting round to the song’s origins.. i’m gonna attempt to list them in chronological order, but might be hard for some of them, so it’s not gonna be absolutely perfect 😅

hayley williams’ 2003/2004 demos (adore, another day, breathe (until tomorrow), hello hello, just like me, my number one, stay away, swim in silence, throwing punches): these songs are not technically paramore songs, and were never intended to be. according to hayley herself, they were recorded between the original 2002 incarnation of paramore, and when they officially got together in 2004, and were used to get hayley signed to her first production deal

they’re often called the “2004 demos,” although seeing as hayley got signed in 2003, i don’t know how accurate that actually is and they could be from earlier?? i’m also not sure where the downloads for them originally appeared from or how they got leaked, and there’s downloads for these demos separate from the b-sides compilation that also include “temporary” ..but i’m fairly certain that wasn’t actually a 2004 demo as i’ll talk about later. these songs have never been officially released, which is a real shame because even as low quality demos, they’re really fucking good 🙁

i’m not sure why 4 of these (“breathe (until tomorrow),” “swim in silence,” “stay away” and “throwing punches”) weren’t included on the original version of the b-sides compilation, as they were available on the 2004 demos download from the same time, so people definitely had access to them, so i might have to try and do some more looking into that 🤔

hallelujah (demo): a version of hallelujah that was apparently recorded during the all we know is falling sessions in 2005, but has never been officially released

“sound of superman” soundtrack (my hero): for the soundtrack of the 2006 film “superman returns,” paramore recorded a cover of foo fighter’s song “my hero.” it’s a pretty good album and also has a great cover of r.e.m. by the academy is... too!! an “electronic mix” of this cover also appeared as a b-side on one of the misery business vinyl singles, but oddly enough it doesn’t look like that version was ever included on the b-sides compilation

the summer tic ep (emergency (crab mix), oh star, stuck on you, this circle): paramore released this ep for the 2006 warped tour, containing an alternate version of “emergency” and 3 other songs. “oh star” (or “o’ star”) was apparently one of the first paramore songs ever wrote, all the way back in 2003, and also appeared as a b-side on the “emergency” single in 2005. it also has a demo version, which i imagine was recorded some time in 2004/2005, and was never released officially.

“this circle” also appeared as a b-side on one of the other misery business vinyls, and both it and “o’ star” were included on the 10th anniversary edition of “all we know is falling”

“misery business” b-sides (stop this song (lovesick melody), sunday bloody sunday): as well as the previously mentioned songs, these 2 were also released as b-sides on different editions of the misery business singles. “stop this song” also appeared as a bonus track on a deluxe version of riot! which i’ll cover shortly

“hallelujah” b-sides (decoy, when it rains (demo version)): despite often being called a “demo” song and lumped in with the other demos, decoy is actually a proper studio track, that appeared on the hallelujah single, as well as a deluxe version of riot! along with the “when it rains” demo

riot! deluxe edition bonus tracks (rewind (demo), temporary (demo), here we go again (live)): there’s a tonne of different deluxe versions of riot! all with different bonus tracks, which apart from the ones i’d already mentioned also includes these ones. “temporary” appearing here is what makes me doubt it was a 2004 demo, because as hayley said, those songs weren’t paramore songs and weren’t intended to be, so i think it as well as “rewind” were just songs that never made the cut for either all we know is falling or riot! 🤔

the live version of “here we go again” is apparently from a 2006 performance in anaheim, and also later got included on a deluxe version of all we know is falling

radio 1’s live lounge - volume 3 (love’s not a competition (but i’m winning it): a kaiser chiefs’ cover paramore recorded for bbc’s live lounge in 2008. although this song is on the version of “the b-sides” on youtube, it’s been removed from the most recent version of the compilation, although i’m not sure why

“twilight” soundtrack (decode (acoustic), i caught myself): probably the 2 most well known songs from this list, “decode” and “i caught myself” were on the soundtrack for “twilight” in 2008. the acoustic version of “decode” is the b-side from the decode single released a couple of weeks before the soundtrack itself

it’s the fact that these 2 well known and popular songs were included on the b-sides album alongside the rare and obscure songs that made me want to write this list differentiating the songs in the first place, especially after i found a blog post from 2010 that called “i caught myself” a 2004 demo, like.. no.. it wasn’t.. 😑

“jennifer’s body” soundtrack (teenagers): a hayley williams’ solo song she did for the “jennifer’s body” soundtrack in 2009, i don’t know why this was included on the album because it’s definitely not a paramore song, but it’s a cool rarity at least??

in the mourning (demo): a video of a short performance of “in the mourning” was posted on paramore’s site and youtube in early 2011, about 11 months before the actual song came out. it’s more of an acoustic sneak peek than an actual demo, but i suppose it’s notable enough to include

self-titled bonus tracks (escape route, native tongue): originally released as bonus tracks on some limited editions versions, as well as the japanese version, of the self-titled album in 2013, they later got a wider release on the 2014 deluxe version of the album, which is why they’ve been removed from the most recent version of “the b-sides”

and there you have it!! there are actually even more paramore b-sides and bonus tracks than this, mostly either live or acoustic versions from various singles and deluxe editions, but i figured this post had got long enough already (and they’ve never appeared on any versions of the “b-sides” compilation) so i didn’t include them 😅

but thank you to anyone who reads this, especially considering how long it got, and i hope there was something interesting in here for you!! 🥰

#paramore

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for-yoongi0309 · 2 years

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“I hope they’re excited for everything so I can give their life meaning each and every day”

SUGA from BTS, SUGA the producer, SUGA as Agust D. And they all make music.

How does it feel listening to “Born Singer,” BTS’ first mixtape song, which is now included on Proof?

SUGA: First of all, I didn’t even know if it could be included on the album. I wasn’t even sure it would be possible, since the original song is so famous, but J. Cole gave us permission. I want to tell him how grateful I am. It’s a song I only could have written back then. I still remember writing it during the first and second weeks we were promoting “No More Dream.” The emotions I felt during that debut time will all evaporate over time, so I had to write it then or never. I even thought about rerecording it since it’s a little over the top looking back, but the intention behind it would be lost if I did. So we just put it in since it wouldn’t be possible to listen back on this period of ours unless it was in a concert. And there might be some ARMY who don’t even know that the song exists. We felt like a lot of who we are went into the song, so we unanimously agreed that it should be included.

The new song “Run BTS” is another fast rap song, like “Born Singer,” but with a different feel to it. SUGA: It’s a little bit different emotionally. “Born Singer” made me emotional—it’s got a fair bit of emotion in it. For “Run BTS,” we kept saying we wanted to try doing a song in our older style, so we chose a title that both shares its name with our variety show and reflects who we are—always running. All the members have come a long way, and there’s times when we’re exhausted but there’s also things we want to do moving forward, so I think we tried to include those desires as well. And I really didn’t have many opportunities to show off my rap skills on our recent albums. So it made me think of the past, which made me want to write something a little tighter, but rapping it was really difficult. (laughs) We got it recorded quickly, but it had been a long time for me, so I really had to work at it when we were recording. (laughs) And in your transition from “Born Singer” to “Run BTS,” you made it all the way to the Grammys.

SUGA: We actually practiced really hard. (laughs) We’re not going to do that kind of performance again for quite a while. We had a part that involved clothes and there was a dance break in the middle, too. The process of getting ready was extremely hectic, too: Seokjin got hurt, and Hobi and Jung Kook were in quarantine, so there were times when it was just four of us. It was an experience I won’t soon forget. And the directors were really enthusiastic about the performance. So it was a bit stressful getting ready … but I guess it was also sort of fun, looking back now. The performance went off without a hitch anyway. The part of the performance involving our clothes kept not working out, including during the rehearsal the day before, so I thought we must have had some kind of luck because it ended up going fine on the day regardless. Whenever we try to do something like that, we typically always fail. (laughs) Viewers wouldn’t realize it, but we talk about it a lot between ourselves, so we were really worried, but fortunately it all turned out in the end.

What is it like retracing your memories from a producer’s perspective? “Seesaw (Demo Ver.)” is very different from the originally released version. SUGA: It’s totally different, isn’t it? I like this version better. (laughs) I had such a hard time working on it. I was in such a bad slump that I had said I would just get a song from somebody else if I couldn’t come up with anything in the end. I felt like I didn’t even want to make a song, but it came to me quickly. I didn’t feel like working on anything; I was just messing around on the piano, knowing I had to do something, when I thought, This melody’s not bad at all, and I ended up making it really quickly. It’s a so-called Shibuya style song, which is a style I personally was into when I was young, and the label reacted to it favorably, too, but they had suggestions for me about working on the arrangement a bit more, so I redid the arrangement. The version that’s getting released now is an instrumental containing a lot of the sentiments I felt in middle school. Sentiments you felt in middle school? SUGA: I loved instrumental versions of songs by my favorite artists when I was younger. I would analyze them a lot and dreamed of becoming a producer. It used to have guide vocals as well, but I asked them to take them out. The guide vocals were too hastily sung. (laughs) But when I actually wanted to put the song on the album I couldn’t find the file with the original source for mixing the song. So I went as far as to try and remake it exactly the way it was before, but it didn’t really have the same feel. (laughs) So I said to myself, I have to find this, and then when I was in LA or New York last year, I asked them to hook up all the old PCs and laptops I had sitting around in Seoul and find it, and they finally did. It turned out the second computer I used and the third one looked exactly the same and I couldn’t find it because I wasn’t looking on both of them, just the same computer every time. (laughs) You really went and dug up an old memory. How did you go from being a middle school student who dreamed of becoming a producer to actually becoming one? “Seesaw (Demo Ver.)” isn’t done in a style that’s popular with many people in Korea, either. I was wondering what kind of changes you went through from then till now. SUGA: When I was young, I wanted to be a rapper, and I wanted to be a producer, and now I can do both of those any way I want, so I’m doing it all, one by one. That’s also why I use several different names: I wanted to keep them separate. He can do this, too? He can do that, too? He can do music for ads, too? It was just lucky I could meet so many fantastic artists as SUGA the producer, so I think I’m really fortunate to be building a career in that sense. What sort of influence did working on “My Universe” with Coldplay have on you? Chris Martin came all the way to Korea to record with you, for one. SUGA: At first I was like, Why is he coming here? (laughs) I mean, with the pandemic, it might have been better to record separately and send them over that way. And I love Coldplay’s music, but I didn’t really know what kind of life Chris Martin has led. But we met, and we talked, and he really wasn’t any different from us. He really related with me when we talked about everyday life and concerns. I realized that all artists who do stadium tours face similar hardships. It was nice knowing I could be friends with someone like him. I feel like you and PSY influenced each other through “That That (prod. & feat. SUGA of BTS).” We already knew you were producing and featuring on the song, but you had a lot of screen time in the music video, too. (laughs) SUGA: I was just going to write the song and dip out, but then he said, “You have experience featuring on other songs, don’t you?” I was like, “Featuring could be okay …” And I did it. Then he said it would be a bit weird if I wasn’t in the music video, and said, “Just try it once and see how it goes,” and I said, “I’ll just do the verse and be off,” and the next thing I know, I’m dancing, too. (laughs) He showed me the rough version and said, “Only do it if you like what you see,” so I did it, and I thought it was fun since it was so much different from his previous choreography. I did the music video purely for all the ARMY watching. (laughs) PSY’s style is very distinct, so how did you end up working with him? It’s an interesting collaboration. SUGA: Exactly. That’s what I wanted! I’ve worked on a lot of different songs as a producer, but non-ARMY mainly know the well-known ones, and those are usually the ones by people like IU or Heize so I think they feel like the songs have similar vibes. But I had a song from before that I wanted to have included on an album but couldn’t, and I thought it would be a good match for PSY from the outset. So PSY became your client. What specifics did he ask for? SUGA: At first I just wanted to give the song to him, but he had a few requests, so I redid the arrangement and that was the beat you hear today. That process of back-and-forth was really fun. At first I decided I would just play it for him, and if he didn’t like it, I’d just let it go, but PSY said that he had been working on music for 22 years and now he needed some young blood, and said he wanted to do the song. I think we both found the experience fun. No matter how hard he tried to keep his style out of it, the parts he wrote have his fingerprints all over them. (laughs)

It was interesting how the track is different from PSY’s usual style, but you can feel he brought his unique style into it anyway. SUGA: I wrote the verses and the hook that goes, “that that I like that,” which feels typical of my style, and then I put in a rap part for the people who are going to listen to the song since it’s been two years since I released D-2. Because I wanted to give them something that sounded similar to my mixtapes. But the melody that PSY wrote was just a straight-up PSY song. (laughs) We divided up the labor and wrote separately, but I learned a lot from him. It was an entirely different production experience for me; there was something about his attitude when making music that resonated with me.

A producer has to meet a client’s needs when making music, which leads to music that expands on and diverges from your personal work.

SUGA: That’s the way I’m most comfortable with. I have the hardest time making my own stuff. (laughs) You have to come up with something, and asking yourself what you want to say with it is really challenging. I had trouble organizing my thoughts in the past because there were so many things I wanted to say, but now I think it’s not knowing what to say that makes it difficult. In fact, other than game music or music for ads, I would only do outside projects with people who had requests and would insert their own individual opinions. You definitely get inspiration and synergy from that. You produced “Stay Alive” for the soundtrack to the webtoon 7FATES: CHAKHO. What’s your approach to working on music for a soundtrack? That song is very OST-like. SUGA: For me, when I’m doing outside projects, I always tailor it to the client, so for that song I put the client first and made sure to think of it as a soundtrack song. I get that you have to tailor the work to the track, but whether or not it ends up working is a whole different story. (laughs) SUGA: I always keep that in mind while I’m working. I think I tend to look at the big picture, since I’m the one who builds the framework and fleshes it out. Anyway, the content the song is for is the most important part, so the song has to be good no matter what. So I made every effort to produce that song. And I purposely wrote the lyrics for “Stay Alive” a little over the top, and I checked out the webtoon and the related content and used grammar I don’t normally use. The song’s composition is also very intriguing. There’s a solemn, dark atmosphere similar to that often found in other OSTs, then it shifts to a style reminiscent of the Weeknd, and the part where Jung Kook sing-raps over your trap beats. It seems like you captured the characteristics of different styles and put them all into one song in a way that makes sense. SUGA: Since I was young, anytime I was writing a song, I thought about arrangement a lot. I look at a track as one big mass. When it comes to the arrangement of the instruments that I used in the first verse, the instruments in the chorus and the instruments that come in after the second verse, some of them remain the same but at the same time I tried to keep changing their arrangement. There are quite a few instances where I changed the arrangement of the instruments more frequently than usual. I don’t know that anybody even notices (laughs) but I tend to be very detailed about that. Pop songs are shorter in length nowadays and it isn’t easy to add changes as far as the arrangement goes within such a short timeframe. I try to do this and that within that space. I’ll try changing the source, changing the rhythm in the middle or inserting elements that make it more interesting for people who listen closely. The music I grew up with had all kinds of changes to its sources, even for songs with the same hip hop beat. It’s too bad about the new way, but I try to pay closer attention. People got to know you first as a rapper in BTS, but you’ve also grown as a producer. SUGA: Yes, fortunately. Lately I’ve been thinking about how I don’t know what kind of music I should do when I get older, and that maybe I should try a few different styles now. (laughs) I think this is both a blessing and a curse, but I think that, while I’m able to work in various genres, I’m not sure any of them are that deep. That’s why I try to use many different styles and when I’m promoting my own material, I put in a lot of things I like, like surprises and twists. These days I started to want to do things again, too. And that brings me both worry and excitement. Would you say that your producer’s perspective also has an effect on your solo efforts, like your Agust D releases? SUGA: I think that, when I release an album as Agust D, that’s a solo work with solo promotions, and I feel like I should use the same system that regular groups do when they’re promoting and have a lead single and a B-side. I was thinking a lot recently that maybe I should shoot two music videos: one just there for the visuals, while the other is more focused on the listening experience. Ah, what should I do? I’m working hard on a follow-up to D-2. If we were to compare you to the lyrics of “Yet To Come” from Proof, you seem closer to still having a lot left to show than to, “the best moment is yet to come.” SUGA: I started to consider that my secret weapon from some point. I tried songs in various styles on D-2, too. I feel like I might not be able to become a master of one genre, but I can wear many hats. There’s still so much I want to do. I have no feel for what kind of music I’m going to be making in my 30s, 40s or 50s, but I want to keep doing music until the day I die. I’m someone who can wear many different hats, so I think I started to worry less when I think about what kind of music I’ll do after. (laughs) So then, what is it you want to give to ARMY and everyone else who listens to your music—while making music for your whole life? SUGA: I used to place a lot of importance on music—especially when I was young—but now I’m trying hard not to place too much meaning on it. It’s just the times we live in, for one thing, because at some point we became a generation for whom music is simply background music. I’m not saying that’s a bad thing. It’s a natural progression, and anyway, I thought there’s a difference between when a musician knows why they’re doing music or not. Here’s what I think: People who listen to my music—I mean, to a certain extent, I think being a fan of something is a must in life. You could be a fan of a person or a sport—whatever it’s about, I think being a fan is important because it makes life fun. Like feeling excited for the NBA playoffs as soon as you open your eyes in the morning. Some people are going to be excited for the day my music comes out and for me to perform. There aren’t a lot of things to be excited for in life. But for anyone who likes my music, I hope they’re excited for it—excited for when it comes out, excited for when I promote and excited for when I go on tour. I hope they’re excited for everything so I can give their life meaning each and every day.

Article/interviewer. Myungseok Kang

Photography. Hyea W. Kang / Assist. Jisu Um, Yonguk Shin, Heehyun Oh, Chiho Yoon

Hair. Som Han / Assist. Hwa Yeon Kim, Seong Hyeon Hwang

Makeup. Dareum Kim / Assist. Yuri Seo, Sunmin KimS

tylist. Youngjin Kim / Assist. Yesong Kim, Bongkyu Kim

#ultkpopnetwork #mgroupsedit #idolsincedits #maleidolsedit #bts #bangtan #min yoongi #suga #yoongi #i. weverse magazine Interview #0615

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fyeah-bangtan7 · 2 years

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SUGA: “I hope they’re excited for everything so I can give their life meaning each and every day”

SUGA from BTS, SUGA the producer, SUGA as Agust D. And they all make music.

How does it feel listening to “Born Singer,” BTS’ first mixtape song, which is now included on Proof? SUGA: First of all, I didn’t even know if it could be included on the album. I wasn’t even sure it would be possible, since the original song is so famous, but J. Cole gave us permission. I want to tell him how grateful I am. It’s a song I only could have written back then. I still remember writing it during the first and second weeks we were promoting “No More Dream.” The emotions I felt during that debut time will all evaporate over time, so I had to write it then or never. I even thought about rerecording it since it’s a little over the top looking back, but the intention behind it would be lost if I did. So we just put it in since it wouldn’t be possible to listen back on this period of ours unless it was in a concert. And there might be some ARMY who don’t even know that the song exists. We felt like a lot of who we are went into the song, so we unanimously agreed that it should be included.

And in your transition from “Born Singer” to “Run BTS,” you made it all the way to the Grammys. SUGA: We actually practiced really hard. (laughs) We’re not going to do that kind of performance again for quite a while. We had a part that involved clothes and there was a dance break in the middle, too. The process of getting ready was extremely hectic, too: Seokjin got hurt, and Hobi and Jung Kook were in quarantine, so there were times when it was just four of us. It was an experience I won’t soon forget. And the directors were really enthusiastic about the performance. So it was a bit stressful getting ready … but I guess it was also sort of fun, looking back now. The performance went off without a hitch anyway. The part of the performance involving our clothes kept not working out, including during the rehearsal the day before, so I thought we must have had some kind of luck because it ended up going fine on the day regardless. Whenever we try to do something like that, we typically always fail. (laughs) Viewers wouldn’t realize it, but we talk about it a lot between ourselves, so we were really worried, but fortunately it all turned out in the end.

Sentiments you felt in middle school? SUGA: I loved instrumental versions of songs by my favorite artists when I was younger. I would analyze them a lot and dreamed of becoming a producer. It used to have guide vocals as well, but I asked them to take them out. The guide vocals were too hastily sung. (laughs) But when I actually wanted to put the song on the album I couldn’t find the file with the original source for mixing the song. So I went as far as to try and remake it exactly the way it was before, but it didn’t really have the same feel. (laughs) So I said to myself, I have to find this, and then when I was in LA or New York last year, I asked them to hook up all the old PCs and laptops I had sitting around in Seoul and find it, and they finally did. It turned out the second computer I used and the third one looked exactly the same and I couldn’t find it because I wasn’t looking on both of them, just the same computer every time. (laughs)

You really went and dug up an old memory. How did you go from being a middle school student who dreamed of becoming a producer to actually becoming one? “Seesaw (Demo Ver.)” isn’t done in a style that’s popular with many people in Korea, either. I was wondering what kind of changes you went through from then till now. SUGA: When I was young, I wanted to be a rapper, and I wanted to be a producer, and now I can do both of those any way I want, so I’m doing it all, one by one. That’s also why I use several different names: I wanted to keep them separate. He can do this, too? He can do that, too? He can do music for ads, too? It was just lucky I could meet so many fantastic artists as SUGA the producer, so I think I’m really fortunate to be building a career in that sense.

What sort of influence did working on “My Universe” with Coldplay have on you? Chris Martin came all the way to Korea to record with you, for one. SUGA: At first I was like, Why is he coming here? (laughs) I mean, with the pandemic, it might have been better to record separately and send them over that way. And I love Coldplay’s music, but I didn’t really know what kind of life Chris Martin has led. But we met, and we talked, and he really wasn’t any different from us. He really related with me when we talked about everyday life and concerns. I realized that all artists who do stadium tours face similar hardships. It was nice knowing I could be friends with someone like him.

I feel like you and PSY influenced each other through “That That (prod. & feat. SUGA of BTS).” We already knew you were producing and featuring on the song, but you had a lot of screen time in the music video, too. (laughs) SUGA: I was just going to write the song and dip out, but then he said, “You have experience featuring on other songs, don’t you?” I was like, “Featuring could be okay …” And I did it. Then he said it would be a bit weird if I wasn’t in the music video, and said, “Just try it once and see how it goes,” and I said, “I’ll just do the verse and be off,” and the next thing I know, I’m dancing, too. (laughs) He showed me the rough version and said, “Only do it if you like what you see,” so I did it, and I thought it was fun since it was so much different from his previous choreography. I did the music video purely for all the ARMY watching. (laughs)

PSY’s style is very distinct, so how did you end up working with him? It’s an interesting collaboration. SUGA: Exactly. That’s what I wanted! I’ve worked on a lot of different songs as a producer, but non-ARMY mainly know the well-known ones, and those are usually the ones by people like IU or Heize so I think they feel like the songs have similar vibes. But I had a song from before that I wanted to have included on an album but couldn’t, and I thought it would be a good match for PSY from the outset.

So PSY became your client. What specifics did he ask for? SUGA: At first I just wanted to give the song to him, but he had a few requests, so I redid the arrangement and that was the beat you hear today. That process of back-and-forth was really fun. At first I decided I would just play it for him, and if he didn’t like it, I’d just let it go, but PSY said that he had been working on music for 22 years and now he needed some young blood, and said he wanted to do the song. I think we both found the experience fun. No matter how hard he tried to keep his style out of it, the parts he wrote have his fingerprints all over them. (laughs)

A producer has to meet a client’s needs when making music, which leads to music that expands on and diverges from your personal work. SUGA: That’s the way I’m most comfortable with. I have the hardest time making my own stuff. (laughs) You have to come up with something, and asking yourself what you want to say with it is really challenging. I had trouble organizing my thoughts in the past because there were so many things I wanted to say, but now I think it’s not knowing what to say that makes it difficult. In fact, other than game music or music for ads, I would only do outside projects with people who had requests and would insert their own individual opinions. You definitely get inspiration and synergy from that.

You produced “Stay Alive” for the soundtrack to the webtoon 7FATES: CHAKHO. What’s your approach to working on music for a soundtrack? That song is very OST-like. SUGA: For me, when I’m doing outside projects, I always tailor it to the client, so for that song I put the client first and made sure to think of it as a soundtrack song.

I get that you have to tailor the work to the track, but whether or not it ends up working is a whole different story. (laughs) SUGA: I always keep that in mind while I’m working. I think I tend to look at the big picture, since I’m the one who builds the framework and fleshes it out. Anyway, the content the song is for is the most important part, so the song has to be good no matter what. So I made every effort to produce that song. And I purposely wrote the lyrics for “Stay Alive” a little over the top, and I checked out the webtoon and the related content and used grammar I don’t normally use.

The song’s composition is also very intriguing. There’s a solemn, dark atmosphere similar to that often found in other OSTs, then it shifts to a style reminiscent of the Weeknd, and the part where Jung Kook sing-raps over your trap beats. It seems like you captured the characteristics of different styles and put them all into one song in a way that makes sense. SUGA: Since I was young, anytime I was writing a song, I thought about arrangement a lot. I look at a track as one big mass. When it comes to the arrangement of the instruments that I used in the first verse, the instruments in the chorus and the instruments that come in after the second verse, some of them remain the same but at the same time I tried to keep changing their arrangement. There are quite a few instances where I changed the arrangement of the instruments more frequently than usual. I don’t know that anybody even notices (laughs) but I tend to be very detailed about that. Pop songs are shorter in length nowadays and it isn’t easy to add changes as far as the arrangement goes within such a short timeframe. I try to do this and that within that space. I’ll try changing the source, changing the rhythm in the middle or inserting elements that make it more interesting for people who listen closely. The music I grew up with had all kinds of changes to its sources, even for songs with the same hip hop beat. It’s too bad about the new way, but I try to pay closer attention.

People got to know you first as a rapper in BTS, but you’ve also grown as a producer. SUGA: Yes, fortunately. Lately I’ve been thinking about how I don’t know what kind of music I should do when I get older, and that maybe I should try a few different styles now. (laughs) I think this is both a blessing and a curse, but I think that, while I’m able to work in various genres, I’m not sure any of them are that deep. That’s why I try to use many different styles and when I’m promoting my own material, I put in a lot of things I like, like surprises and twists. These days I started to want to do things again, too. And that brings me both worry and excitement.

Would you say that your producer’s perspective also has an effect on your solo efforts, like your Agust D releases? SUGA: I think that, when I release an album as Agust D, that’s a solo work with solo promotions, and I feel like I should use the same system that regular groups do when they’re promoting and have a lead single and a B-side. I was thinking a lot recently that maybe I should shoot two music videos: one just there for the visuals, while the other is more focused on the listening experience. Ah, what should I do? I’m working hard on a follow-up to D-2.

If we were to compare you to the lyrics of “Yet To Come” from Proof, you seem closer to still having a lot left to show than to, “the best moment is yet to come.” SUGA: I started to consider that my secret weapon from some point. I tried songs in various styles on D-2, too. I feel like I might not be able to become a master of one genre, but I can wear many hats. There’s still so much I want to do. I have no feel for what kind of music I’m going to be making in my 30s, 40s or 50s, but I want to keep doing music until the day I die. I’m someone who can wear many different hats, so I think I started to worry less when I think about what kind of music I’ll do after. (laughs)

So then, what is it you want to give to ARMY and everyone else who listens to your music—while making music for your whole life? SUGA: I used to place a lot of importance on music—especially when I was young—but now I’m trying hard not to place too much meaning on it. It’s just the times we live in, for one thing, because at some point we became a generation for whom music is simply background music. I’m not saying that’s a bad thing. It’s a natural progression, and anyway, I thought there’s a difference between when a musician knows why they’re doing music or not. Here’s what I think: People who listen to my music—I mean, to a certain extent, I think being a fan of something is a must in life. You could be a fan of a person or a sport—whatever it’s about, I think being a fan is important because it makes life fun. Like feeling excited for the NBA playoffs as soon as you open your eyes in the morning. Some people are going to be excited for the day my music comes out and for me to perform. There aren’t a lot of things to be excited for in life. But for anyone who likes my music, I hope they’re excited for it—excited for when it comes out, excited for when I promote and excited for when I go on tour. I hope they’re excited for everything so I can give their life meaning each and every day.

#bangtan #suga #m:weverse magazine #t:interview #220616

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mrdrzezstchkowitzatyourservice · 3 years

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Well, I’m down with a cold and don’t really have anything better to do, so I’m just gonna pump out a couple Hawaii: Part II posts.

(warning, this is a long one)

Something I’ve had on my mind recently is the Mind Electric, undoubtedly the most popular song in the album. It’s a very interesting part of HP2′s story, and has been interpreted in multiple different ways. I shall present my own ideas on the song’s meaning but also dive deeper into it’s demos, namely Inside the Mind of Simon and Demo 4. Subjects I’ve been looking forward to discussing for quite a while.

Let’s start with the full release version.

The full version of TME has two versions: one for the album, and one for the lyric video. They are the same song, albeit with minor changes. For lyrical analysis, I will be using the album version. Here we go.

It doesn’t take a genius to learn that the first have of this song is played backwards. Though it does slap, there are some interesting things we should notice:

1) A conversation of sorts in the background, between a man and a woman. From the way they voices sound, it seems almost like film footage from an old movie (30s, 40s, or 50s).

2) A sharp ear will catch this right away, while most only notice it once the song plays normally. The word “insane” is the only word spoken forwards in the backward part, and the only word spoken backwards in the forwards part.

About halfway through the song, it begins to play forwards.

“Think of these thoughts as limitless light

exposing, closing, circuitry of fright

think of each moment holding this breath

as death minute in decimal.”

In the first verse, we are opened to the situation. Our protagonist, (who is called Simon in a demo, and I shall refer to him as such) seems to be in some sort of tense situation, as there are described words and phrases such as “fright”, “holding this breath”, and “death.” Simon is certainly somewhere he doesn’t want to be and he’s scared.

“Resident Minor how do you plead

we’ll need your testimony on the stand

solemnly swear to tell the whole truth

so help you son now raise your right hand.”

So. Now we have a defined location: a courtroom. A certain song earlier in the album (Murders) gives you some information as to why he’s there, but if you went in to this song first and completely blind the first time (like me), then it’s a bit confusing. In this verse, the deeper voice, the judge, is asking Simon to prepare to state his case, which is usually done by raising the right hand and swearing to tell the truth, the whole truth, and nothing but the truth.

“’Father Your Honor, may I explain

my brain has claimed it’s glory over me

I’ve a good heart albeit enasni’

‘Condemn him to the infirmary!’“

In this verse, Simon seems to be trying to escape sentencing by claiming insanity, again I bring up that “insane” is the only word spoken backwards. As we can see, Simon’s plan backfires when the judge finds him guilty sentences him to a mental hospital.

“’All mine towers crumble down

the flowers gasping under rubble

shrieking in the hall of lull

thy genius sates a thirst for trouble.’”

This verse, from Simon’s POV, displays the first part of his “treatment”: electric shock therapy, in which the patient is “healed” by a series of strong electric shocks. This marks the beginning of his descent into insanity, with the first part of the verse seemingly talking about his failing sanity: his sanity falling away and burying his qualities of kindness and innocence under rubble. The other half of the verse as a bit trickier to understand. “Shrieking in the hull of lull” could mean that Simon is suffering nightmares. “thy genius sates a thirst for trouble” could be a lament of how he landed himself in the infirmary. His “genius” thinking he had the judge fooled ultimately getting him sent there.

“‘Shattering sparks of thought energy

deliver me and carry me away’

‘Here in my kingdom, I am your Lord

I order you to cower and praey.’”

Now, this verse seems to suggest that SImon’s caretakers aren’t the most supportive people in the world, and possibly are abusive. Bad doctors only seem to be driving him further into insanity. We also see another reference to electric shock therapy in the first half of the verse, the “deliver me and carry me away” portion possibly referring to the treatment stripping away his sanity.

“’All my nuns were chanting

as the lighting strikes mine temples

thus electrifying mine chambers wholly scorching out thine sovereignty

spiraling down thy majesty

I beg of thee have mercy on me

I was just a boy you see

I plead of thee have sympathy on me.’”

This one, again in a quickened pace, is showing Simon undergoing treatment. It shows the lighting “scorching out thine sovereignty,” possibly meaning that Simon is losing control of his actions. This is backed up by the background voices chanting “HELP ME” “AXON DENDRITE.” In biology, axons and dendrites control impulse. Actions. And again, we have evidence showing abusive doctors, with Simon pleading for their mercy, begging them to stop.

“’See how the serfs work the ground

and they give it all they’ve got

and they give it all they’ve got till they’re down”

Ah, the beginning of the much-beloved serfs part. This part, in my eyes, is Simon talking about the struggles of his fellow inmates at the infirmary, trying their hardest to maintain themselves and preserve their sanity, but ultimately wearing themselves out and losing themselves.

“See how the brain plays around

and you fall inside a hole you couldn’t see

and you fall inside a hole-

inside a-

someone help me

understand what’s going on inside my mind

doctor I can’t tell if I’m not me!’”

This song marks the point where Simon fully, truly, goes insane. The “hole” he falls in that he couldn’t see being that pitch-black pit of loss of mind. He’s worried about himself. He expresses these worries to his doctor, who, in the lyric video version, replies with a distorted-sounding “Not you, huh?” which shows that Simon knows he is insane and is asking for help, but the doctors just don’t care.

“‘When it grows bright the particles start to

marvel how they made it through the night

never they ponder, whether electric

calming if you look at it right.’”

In the last verse, we can see the effects of Simon’s insanity. The first words of the verse seem to reference the start of a new day. Perhaps the particles mentioned are Simon’s last few shreds of humanity, marveling how they’ve continued to exist. The last two lines seem to show that Simon has just stopped caring. The electric shock therapy doesn’t scare him anymore. If anything, the last line seems to say that he accepts it, seeing it through a new view as something meant to help him.

Well, that was the Mind Electric. Now the demos.

Let’s kick off with Inside the Mind of Simon, the demo that pretty much laid the groundwork for the Mind Electric. It follows the same lyrics as the ones we just followed above, with a few lines having been changed. Let’s have a look at them, shall we?

The first thing we notice as being different is the “think of these thoughts as limitless light” verse is absent, with us instead being launched into the drama, a la Simon is asked to prepare his testimony.

“‘Resident Simon, how do you plead

we’ll need your testimony on the stand

solemnly swear to summon your story

tell the truth and raise your right hand.’”

As we can see, in this one, Simon is referred to by name. The judge’s phrasing of asking Simon to give his testimony is also different

“‘Resident Marvin, let me explain

my brain has claimed its glory over me

I’ve a good heart I may be insane

please mend my mind and let me go free.’”

Now this part was interesting, because while in the full version Simon tries to trick the judge by pleading insanity, he seems to mean it for real here. He actually thinks something is wrong with him, and asks them to fix him.

“‘All my towers crumble down

the flowers gasping under rubble

shouting in the hall of lull

my demons quench my thirst for trouble’”

This first mostly stayed the same in the official release, except for the last line. Perhaps it may symbolize that the looming threat of facing the consequences of his actions keeps him from doing bad things. It could also all the same be referring to his doctors as the demons, reprimanding him every time he does something troublesome.

The next verse, the “Lord” verse, was not changed in the official release, but the verse after it was. It was the last verse to be changed for the final version.

“‘All my monks were chanting as

the lighting struck my temples

and electric shocks destructed places

said they read it on my face’”

We can see from this verse that “monks” were later changed to “nuns” in the full version. The last two lines of this verse are the most intriguing. The “places” being destroyed inside his head could be another reference to the towers mentioned in the first “electric shock verse.” The last line could be saying that the doctors are putting him up to the treatment because they saw that he was mad and decided to fix it.

The rest of the song was unchanged for the final release.

The last base I want to hit is Demo 4. This is definitely one of my favorite demos. I like it because of the glaring detail that sets it aside from the other demos: Labyrinth.

In Hawaii: Part II, Labyrinth in the name of the absolute bop of a rap song that follows up TME. But they used to be the same song. This is referenced in the full release version of TME, when, in the serfs portion, when “see how the brain plays around” is sung, the chorus of Labyrinth is whistled in the background.

But Demo 4′s Labyrinth is not HP2′s Labyrinth. It’s Labyrinth if it got infected by TME. Let’s take a look it.

We start with the serfs portion, which sounds... almost distressed, only at the end of it, when we expect to hear “When it grows bright-) the piano kicks in and we hear this:

“‘See how I laugh at you

you’ll never understand

no you’ll never understand

oh you’ll never, ever, ever, understand

see how I run from you

I’ll never understand

no I’ll never understand

oh I’ll never, ever, ever, understand’”

(Loud demonic shriek)

What we get here is indeed the tune of Labyrinth, only slowed down, sinister-sounding, and has an effect that almost seems like it’s decaying. This, it seems, is the true face of Simon’s insanity. What we get in the first part is, more or less, what seems like Simon taunting his caretakers, saying that they’ll never understand him. The second half is when they get angry at him, so he flees. The next part has two possible meanings:

1) “I’ll never understand” in the form of a lament. He’ll never understand himself or his actions and will thus have to face the consequences for things he did outside of his own control

2) “I’ll never understand” in the form of a tease, that no matter how hard his caretakers try, they’ll never be able to keep him in line, or follow their rules.

Immediately following the Labyrinth section of the demo is a loud, static-y, distorted and demonic shriek which could either be him crying out in pain or screaming as a result of pure madness.

That concludes Demo 4 and my review. I’m sorry it was so long haha. What do you think of my theories? Do you have any additions? If so, feel free to point them out or add on!

#the mind electric #hawaii: part ii #hpii #hawaii part 2 #miracle musical #tally hall #music #lyrical analysis #long post

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bts-weverse-trans · 3 years

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201126 Weverse Magazine ‘BE’ Comeback Interview - Jin

Jin: “It feels like my memories of ARMY were all a dream” BTS BE comeback interview 2020.11.26

Jin is calm and quiet throughout the whole interview. But while his words start out sounding like those in an everyday conversation, they soon begin to tell the story of a protagonist in the intricate drama that is BTS.

You worked on the lyrics for “Stay.” Jin: The song opens with the words, “Was it a dream?” and I came up with the theme. We used to see our fans and it was great, but now that’s something we can’t do anymore. I thought it all felt like a dream. I wanted to say, “We used to be so happy together, but now I feel like your very existence was a dream.” I came up with the intro and then talked about it with RM. He really helped me a lot.

I’m guessing you came up with the lyrics because of COVID-19. Jin: It was around two to three months ago that I wrote the lyrics for the song, when it seemed like COVID-19 wasn’t getting any better. I want to put on another concert, and, like I said, it feels like my memories of ARMY were all a dream: Ah, they always used to be there with us, and then they disappeared like a memory—was all that a dream? Will we ever meet again? Those kinds of thoughts.

It sounds like you had a hard time getting used to this new situation. Jin: Yes. That used to be a part of our life for years, so it felt like a part of my life disappeared. When we had a busy schedule to deal with, sometimes I thought maybe it would be fun to have no job, but when that work was no longer there, no matter what I did, even if I poured myself into it, it all became meaningless very quickly. I felt insecure when I had nothing to do, since I’m so used to being busy, and feeling insecure made me think more about the things I like, and what I should do to make myself happier, besides work.

Would you say that’s been incorporated into your work on BE? Just from looking at the album photos, we can see each of you expressing your own thoughts through your room designs. Jin: Mine was the jewel room. They asked me what kind of concept I wanted for my room. I thought about what I wanted to do, and I wanted to go with gems. I was imagining myself lying down with gems all around me, but V, who was the visual director, thought I was joking at first. (laughs) “You were supposed to decorate the room, what do you mean gems?” But still, that’s the image I had in mind, so we went with that concept, except it wasn’t full of gems like I imagined. But I really stand out in the picture, so I’m satisfied with the result.

Why did you choose gems? Jin: Well … I have a sort of free, do-whatever-I-want personality, and at the time, I was really intrigued by gems, so that’s what I chose. This year, with the pandemic, I had more time to think about what I want and the things I want to do, and to try some new things, like playing piano, playing games, not playing games, meeting different people. But still, I can’t tell what I really like. I don’t think I ever thought much about myself, other than the work part. The best answer I found was doing whatever I’m interested in at the moment; is being the truest to myself. I’m more of a feeler than a thinker. Some might say I should have a plan for my future, but I don’t have any. (laughs) I thought that I really just do as I please.

So what does it mean to do as you please? Jin: Like I said, I’m someone who literally lives only in the present, so I tend to forget about the past, and I don’t stress over the future. I know I won’t forget important moments or times I spent with other people, but I’ve forgotten all the bad things that happened in the past and the hard times I had, and I’m really satisfied with my life now and happy to be working hard. How can anyone feel happy over and over again from something that happened in the past, no matter how good it was? You can be happier finding 10,000 won on the ground now than earning 100 times that in the past. I think I’m living true to my feelings by living in the now rather than thinking about the future or the past.

Even though you say you do whatever you’d like, aren’t there things you still need to be careful about, being a part of BTS? Jin: There are things that should be followed as a rule, such as not crossing on a red light, for example. Because if you do, there might be an accident. So those things, I set aside as things I shouldn’t do, so I never really thought of wanting to do them.

That sounds more like self-discipline. (laughs) Jin: It’s the same as not crossing at a red light if you don’t want to get hurt. I can keep myself happy living in the present as long as I’m not doing anything I shouldn’t be doing. Some might feel a bit frustrated, but they might also be the kind of people who cross at a red light. (laughs)

The song “Dis-ease” captures each of the BTS members’ thoughts on work. Is it especially difficult for you, in particular, to separate work from your personal life? Your life is influenced by your work. Jin: To me, work makes a lot of things happen in my life. Naturally there are times I feel stressed because of work, but the work I do makes me happy and has led to some spectacular experiences. Sometimes it’s interesting, other times it might be exhausting. I think I feel an entire spectrum of emotions thanks to my work. I lead my life the way I do because of my work, so to speak.

Just as you did, the other members also expressed on BE their feelings of what they’ve been through. Other than “Stay,” what other songs did you relate to? Jin: I didn’t really think about which songs I relate to, but I can tell you which song I like the most: “Blue & Grey,” by V. I liked that song from the very first time I listened to it, so I listened to the demo over and over again.

What was the demo version like? Jin: When V first made it and gave it to me, it didn’t have the rap part yet. There were no lines for the rap but it sounded really unique. Only the instrumental was there for that part and it felt like it was time for thinking by myself. Of course, I like the full version with the rap, too, but still, I liked how there was space that made you think. It’s been a long time since I got that feeling from listening to one of the demos. The first one was “Spring Day,” and the second was “Blue & Grey.”

It sounds like you found the song right when you needed some time to think. Jin: Yes. Before our debut, I had a clear goal: to debut. I chased after that one goal. After we debuted, I was chasing after a number one hit, and after we got number one I was chasing after major awards. And after that there were a lot of other awards, like from Billboard, and performances to put on, but it wasn’t a goal in the sense that it was my goal to debut. I’m just happy to be working. Every moment is wonderful and has become like my whole life. That wasn’t how I felt when I was a trainee because I had a serious goal then. But now, my goal is to live without overthinking anything. Maybe it’s not really a goal but a kind of defense mechanism.

A defense mechanism? Jin: As you get thinking, you might somehow undermine yourself. So, as long as I don’t think too hard, I can work hard right now. Maybe that’s why I called it a defense mechanism: If I stop and think about it, I might have too many ways to put myself down.

But if you imagine someone else were to have accomplished the same things you have, wouldn’t they think they deserve to feel proud? Jin: That’s true, but I’m also one of seven members of BTS. Thinking about what I’ve done as an individual feels like a burden to me. Up until we finished working on Map of the Soul: 7, I wasn’t burdened but felt, “Okay, we all did a good job. I’m happy with this.” But after getting “Dynamite” to the top of the Billboard Top 100 and starting down this new road, I started to wonder if I deserve any of this.

But you experienced a lot of big things before. What made you think that way this time? Jin: I was waiting for the chart position to come out all day, and then right before bed, Namjoon sent a message to our group chat. That’s when I realized we were number one! I was really happy, but something felt different. Maybe it was because we couldn’t see our fans. After “Dynamite,” we got even more love from even more people, and even when I was walking down the street, people would say things like, “I’m a big fan of yours,” or, “Thank you for introducing Korea to the world.” Then I started to think, “Do I deserve all this congratulations and love? That’s not me—I’m not that kind of person.” I got over it a bit, but even until a few days ago, the pressure was so intense that I couldn’t get any work done.

How did you move away from all that pressure? Jin: I just moved on. Like with COVID-19, we all have to wait and stay put until everything gets better. And actually, after “Dynamite” made number one, we got really busy, so I was able to think less about other things and basically avoid them that way, all those questions about life. I think that’s how I endured.

If you had had the fans there with you, maybe you would have felt less pressure or worry. Maybe it makes what you’re doing now seem incomplete compared to the past. Jin: We did so much and we worked so hard, but the result doesn’t hit you the same way, does it? The—excitement, maybe?—isn’t quite there. There’s a big difference between performing for people and performing for the camera. The performance itself is hard, too, of course. I have to keep at it for months once we start. But when we perform for people, I feel alive.

Had you been able to perform “Dynamite” on stage for your fans, you probably would have felt more love and more confident taking first place. Jin: I want to look and do my best in front of the fans no matter what. It’s a lot more fun when our fans are there, right in front of us. I’m not thinking about anything else in another sense, when they’re there with us. For people who don’t perform like we do, when they have fun, they don’t think about much else, and just focus on what they’re doing. I think we’re the same way when our fans are around. I don’t have to think about anything else, because my fans are all right in front of me. I just have fun and forget about everything else.

Hopefully you’ll feel like everything is back to normal once you can see your fans again. Jin: At first I thought I’ll probably cry tears of joy. But would I? I don’t really think so. At first I really thought I would, but now I think it might feel like going back home. It depends on who you ask, but I don’t think most people would cry just because they came back to their hometown after being away. I think that’s how I’ll feel: like I’m back where I should be.

Talking to you, it seems like the sense of being loved by your fans must be important to you, emotionally. Jin: You’re right. Getting love from the fans was my source of happiness—what can I compare this to? Like a kid who’s always showered with love by their parents, but then the parents are suddenly gone on a business trip for like, ten months. It’s kind of like that. I was always trying to make our fans smile, make them feel good, by acting cute, but now my parents have been away on their business trip for, ten months, and I’m trying to be cute over a video call. That’s what it feels like. So please, wrap up your business trip as soon as possible, and hurry up and come home so I can show you how cute I am again! And, to COVID-19: Please get lost. (laughs)

Trans © Weverse

#bangtan #jin #weverse #weverse magazine #comeback interview #201126 #2020 #be album

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1ddotdhq · 3 years

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Sun 31 Jan ‘21

Happy Walls Dayyy!!!!!! Today was the first anniversary of our #1 fave debut album of 2020, and we all celebrated, Louis included! Last but best thing first: WE GOT A DEMO!! Louis ended the day by publishing a dreamy clip of a demo of the title song ‘Walls’. His clear voice croons over beautiful sliding electric guitars and background reverberance- if that’s his FIRST draft then he is, as we knew, a GENIUS! AND, the King Himself came on twitter to interact with his “loyal” (his words) subjects (that’s us!). He popped up at first to say that his tour, when it comes around, will be “fucking unbelievable...this is our day!”, and talked about his favorite part of the last year (“the two shows I played”), what he noticed most when performing solo the first times (“the space on stage” ughhhh all the tears), what he was looking forward to after COVID (“everything”) and getting through these times- “remember that everything is going to be better when normality sets back in.” He also explained that while he was gonna put out merch today, he “didn’t want to market the day”, but rather make it “a celebration just for us”. But, uh, the merch will be coming eventually! He then replied that there were “too many greedy fuckers out there” who try turn celebratory events into a “cash grab” (to quote the fan), and harries then got mad at that because THEY were like this must be about Harry (lol uhhhh) and assumed he was shading him and Jeff rather than, I don’t know, his OWN FORMER LABEL?? Cool cool cool, but it’s still Harry’s moth on Spotify, so cope. He told us that his proudest moment on the album was recording the strings for the Walls the Single, that he wouldn’t have approached the process differently because he’s still really proud of the album, that he was most looking forward to us hearing KMM or Walls, that Doncaster is his fav place (to no one’s surprise lmao), and, asked what song he likes to rock out to off HIS ALBUM was like oh hey have I got a rec for you: “Maybe Tomorrow” by the Stereophonics. It goes, “think I'll walk me outside and buy a rainbow smile, but be free” and “maybe tomorrow I’ll find my way home” (huh is there something happening tomorrow that could be linked to... OH. Right. Huh. Well all that is just a coincidence I’m sure, it’s not like Louis ever said he likes to rec songs because he wants us to read into the lyrics or anything... oh wait.)

LTHQ did a insta quiz over on their stories (I only got two questions wrong!) and they did the promised virtual listening party and tweeted along to each song and retweeted fans’ reactions (and all the usernames, larries everywhere, we SEE YOU). Friends of Louis joined in the celebration- Only The Poets, Ashton Irwin of 5SoS fame, Helene Hornyck (“all the love,” she said!), Isaac Anderson and more, and All On The Board made one of their lovely Frankenstein poems which mashing up a bunch of LT1 songs, but in keeping with the theme of the day (and COVID I GUESS) did it as fanart rather than the usual in person board. And all of that was the BORING part of the day, can you BELIEVE?? The FUN part was the Walls Fanart that was chosen to be the new Spotify cards on the official Walls album. As in, they are up right now if you want to go check them out, but I’m gonna tell you straight up: they’re half Harry tats! The Defenseless card, especially, as it is just straight up fanart of Harry’s moth tattoo, especially fun when he had JUST got us talking about its Papillion origin with his finsta! The artist had been worried that Louis would be mad at them for submitting ‘Larry art’, and was overjoyed to learn that, uh... apparently, he was NOT. That was not all! The ‘Too Young’ art card is H’s rose tattoo, ‘Habit’ and ‘Fearless’ were both different variations of H’s anatomical heart tat (the ‘Habit’ one even included the word kind :{) ), and the We Made It rainbow wheel did, in fact, make it to Spotify, just like we thought! “Perfect Now” was Louis standing under a rainbow spotlight—they made that one black and white for spotify but the artist shared the original version. Harries were beside themselves, and tagged Jeff (Azoff), Ben Winston, and Gemma Styles (what?), demanding that they make Louis take the art down because it was clearly Harry art, which 1.) how much more blatant can you be if even ANTIS are noticing and 2.) what sort of control do they think Jeff, Ben, and Gemma have over Louis seeing as, uh, none of them currently work for him??? Weird, are they thinking there might be some kind of link... between Harry and his team and Louis... tell me more antis, truly, I’m fascinated!

One would think that’s more than enough for one day but WAIT THERE’S MORE Zayn is in EXCELLENT quirky Zayn form having fun with his own merch—he posted a gremlin (from the old RL Stine movie ‘Gremlins’) in a NIL beanie captioned “one size fits all humanoid shaped heads” late last night, haaaaa. Yes, I agree! The red stitching really makes the gremlin’s red eyes pop, and his fangs have never looked this good! And the question arose, is Harry’s finsta actually just his side account for following nothing but gay meme accounts? Evidence—the discovery of a second follow, of the openlygayanimals account-- would suggest yes! Well that’s valid, imagine having to not only navigate the internet AS HARRY but also without funny memes of your choice, that’s no life to lead. And Niall complained on twitter that people didn’t understand his sense of humor because SARCASM! He also tweeted about golf, which I’m sure was cool for people who understand it.

#louis tomlinson #zayn #harry styles #niall horan #lmao @ all the people who were like LOUIS JUST SHADED HSHQ #like uh NO HE DIDNT YOU DID #lajdflkdajfsd #also COULD LOUIS BE MORE ON LA TIME??? NO HE COULDNT #i love this today was fun and much needed!#to celebrate im gonna rewatch the liveshow tonight!#anyways!#song of the day!#maybe tomorrow by the stereophonics! bc LOUIS

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path-of-my-childhood · 4 years

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The Story Behind Every Song on folklore - According to Aaron Dessner

By: Brady Gerber for Vulture Date: July 27th 2020

The National multi-instrumentalist spoke to Vulture over the phone from upstate New York a few hours after the surprise release of Swift’s eighth studio album. (“A pretty wild ride,” he admits, sounding tired yet happy.) He was clear that he can’t speak on behalf of Swift’s lyrics, much like he can’t for The National frontman Matt Berninger’s either, or the thinking behind Jack Antonoff’s songs. (Here’s a cheat sheet: Jack’s songs soar, Aaron’s glide.) But Dessner was game to speak to his specific contributions, influences, and own interpretations of each song on folklore, a record you can sum up by two words that came up often during our conversation: nostalgic and wry.

“the 1″

“the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs] These are the bookends, you know?

It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing.

The song began from the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did.

“cardigan“

That’s the first song we wrote [in early May]. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote.

I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

The National’s Influence On Swift

She said that she’s a fan of the emotion that’s conveyed in our music. She doesn’t often get to work with music that is so raw and emotional, or melodic and emotional, at the same time. When I sent her the folder, that was one of the main feelings. She said, “What the fuck? How do you just have that?” [laughs] I was humbled and honored because she just said, “It’s a gift, and I want to write to all of this.” She didn’t write to all of it, but a lot of it, and relatively quickly.

She is a fan of the band, and she’s a fan of Big Red Machine. She’s well aware of the sentiment of it and what I do, but she didn’t ask for a certain kind of thing. I know that the film [I Am Easy To Find] has really affected her, and she’s very much in love with that film and the record. Maybe it’s subconsciously been an influence.

“the last great american dynasty”

I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].

She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

“exile” (ft. Bon Iver)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts.

We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue.

With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

“my tears ricochet”

This is one of my absolute favorite songs on the record. I think it’s a brilliant composition, and Taylor’s words, the way her voice sounds and how this song feels, are, to me, one of the critical pieces. It’s lodged in my brain. That’s also very important to Taylor and Jack. It’s like a beacon for this record.

“mirrorball”

“mirrorball” is, to me, a hazy sort of beautiful. It almost reminds me of ‘90s-era Cardigans, or something like Mazzy Star. It has this kind of glow and haze. It feels really good before “seven,” which becomes very wistful and nostalgic. There are just such iconic images in the lyrics [“Spinning in my highest heels”], which aren’t coming to me at the moment because my brain is not working [laughs].

How Jack Antonoff’s Folklore Songs Differ From Dessner’s

I think we have different styles, and we weren’t making them together or in the same room. We both could probably come closer together in a sense that weirdly works. It’s like an archipelago, and each song is an island, but it’s all related. Taylor obviously binds it all together. And I think Jack, if he was working with orchestrations, there’s an emotional quality to his songs that’s clearly in the same world as mine.

We actually didn’t have a moodboard for the album at all. I don’t think that way. I don’t really know if she does either. I don’t think Jack... well, Jack might, but when I say the Cardigans or Mazzy Star, those aren’t Jack’s words about “mirrorball,” it’s just what calls to mind for me. Mainly she talked about emotion and to lean into it, the nostalgia and wistfulness, and the kind of raw, meditative emotion that I often kind of inhabit that I think felt very much where her heart was. We didn’t shy away from that.

“seven”

This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

“august”

This is maybe the closest thing to a pop song. It gets loud. It has this shimmering summer haze to it. It’s kind of like coming out of “seven” where you have this image of her in the swing and she’s seven years old, and then in “august” I think it feels like fast-forwarding to now. That’s an interesting contrast. I think it’s just a breezy, sort of intoxicating feeling.

“this is me trying”

“this is me trying,” to me, relates to the entire album. Maybe I’m reading into it too much from my own perspective, but [I think of] the whole album as an exercise and working through these stories, whether personal or old through someone else’s perspective. It’s connecting a lot of things. But I love the feeling in it and the production that Jack did. It has this lazy swagger.

“illicit affairs”

This feels like one of the real folk songs on the record, a sharp-witted narrative folk song. It just shows her versatility and her power as a songwriter, the sharpness of her writing. It’s a great song.

“invisible string”

That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song.

It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

“mad woman”

That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

“epiphany”

For “epiphany,” she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords.

I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

“betty”

This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

Is ‘betty” queer canon? I can’t speak to what it’s about. I have my own ideas. I also know where Taylor’s heart is, and I think that’s great anytime a song takes on greater meaning for anyone.

Is William Bowery secretly Joe Alwyn? I don’t know. We’re close, but she won’t tell me that. I think it’s actually someone else, but it’s good to have some mysteries.

“peace”

I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these basslines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way - there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized basslines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs].

“hoax”

This is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

Does Taylor Explain Her Lyrics?

She would always talk about it. The narrative is essential, and kind of what it’s all about. We’d always talk about that upfront and saying that would guide me with the music. But again, she is operating at many levels where there are connections between all of these songs, or many of them are interrelated in the characters that reappear. There are threads. I think that sometimes she would point it out entirely, but I would start to see these patterns. It’s cool when you see someone’s mind working.

“the lakes”

That’s a Jack song. It’s a beautiful kind of garden, or like you’re lost in a beautiful garden. There’s a kind of Greek poetry to it. Tragic poetry, I guess.

The Meaning Of Folklore

We didn’t talk about it at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it.

I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened.

It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

Okay, but is it A24-core? [Laughs.] Good comparison.

#Aaron Dessner #interview #vulture #about taylor #taylor swift #folklore album #folklore era #songwriting #producer #the national #bon iver

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mysmorgasbordoffantabulosa · 2 years

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Proof... New Chapter... and a whole lot of thoughts!

So I’ve had time to remunerate on the announcement of PROOF and I have some thoughts.

An Anthology…

So when it was announced by BigHit Music that the new album would only include 3 new songs and will be an anthology album, my first thought was…

But then as the dust settled, I’ve come to the conclusion that actually this all makes perfect senses.

Artists tend to do anthologies for various reasons: they are about to retire or take a long break and want to produce the greatest hits album; to mark the end of a set of albums as a repackaged album; or to mark the end/transition/start of a new era. I personally now think it’s the latter, the press release statement backs this up 3 time:

“BTS anthology album that embodies the history of BTS will be released as they begin a new chapter…”

“…that reflect the thoughts and ideas of the members on the past, present and future of BTS.”

“We hope that you look forward to BTS’ anthology album “Proof”, and relive the history that BTS and ARMY made together so far, and will continue to make in the future to come.”

So basically, HYBE/BigHit are (not so) subtly telling us this is not the end, and it’s a celebration of BTS’s past.

And those disappointed by just 3 new songs, should focus on the phrase in the press release: “includes many different tracks.” This is born out of the with two tracklists we’ve got, which are identical to the leaked lists I saw on Twitter over the weekend. If CD 3 follows these, then we can expect a mix of previously unreleased demos, alternative versions of songs, as well as the odd SoundCloud/Festa songs.

I think the idea of possible SoundCloud songs, unreleased demos etc, being formally released and available on streaming services (like Born Singer) is too much of an opportunity to miss for BTS/HYBE.

Also, I don’t think the three track are subunit tracks that people have speculated.

Yet to Come (The Most Beautiful Moment)

Come on, aren't they just telling us there's more and better to come?

Is PROOF linked to Festa?

So when I thought about the date of the album launch, my immediate thought was it’s gonna tie into Festa 2022. However, now I’m thinking what if PROOF is the theme and the main focus of Festa. And therefore, if Festa occurs normally we can expect to get a Festa timetable around 28th/29th May and possibly a mini announcement next week about a week before that too. If that happens, I’ll be looking at 2 key dates from the PROOF promo, 6th/7th and 13th, and whether we have a possible link up. On the 13th, I’m expecting some kind of live stream event, that includes a performance of some songs, like Bang Bang Con.

I don’t expect any tour announcements, because BigHit has a tendency to announce tours about a month prior to an album release. Though if they are going on tour, I expect them to announce it this week. But like I said I don’t expect it, but I’ll come to that later…

Proof and Door

The interesting thing, when looking at the promo schedule, I was very intrigued by the concept photos on between 27th - 29th and 30th - 2nd. They are called ‘PROOF’ and ‘DOOR’, for me this ties in with the original press release, with the concept of past and future.

PROOF, is clearly about the past. The word has multiple meanings, but the two key ones are evidence of fact and protection, which is what they are providing, with the anthology.

Now DOOR, links in to the new chapter (i.e. future), it’s a metaphorical door, stepping into the unknown or into something wonderful.

This PROOF/DOOR idea is the new phase on the album cycle. Could PROOF replace Festa or merge with it and Door becomes an over arching theme for future projects, which weird has been hinted at with Film Out doorways. Also, Door links with BTS/ARMY logos.

“New Chapter”

So what is the new chapter, that HYBE, BigHit and BTS all go on about?

Firstly, I think later in the year we’re gonna get the album that I thought we were getting on 10th June, a proper studio album. Probably around October/November. But will the album be called DOOR? I’m thinking yes.

Also, I watched DDKTV the other day , and they discuss this very issue and mentioned many KNETZ think that BTS/HYBE already know that BTS aren’t going into the military full-time (i.e have assurances from the government) and that releasing PROOF now is merely a stop gap.

I also think BTS will also take more ownership of their content and music. I expect Suga and RM to produce tracks on the album going forward, and for the members to write more of their tracks than ever before. We might see more mixtapes next year, once the military thing has been resolved. I expect more things outside of music moving forward also.

As a side note…

Carl Jung and Doors

We all know how important Carl Jung's theories are to BTS’s music, it’s interwoven into several tracks and themes across multiple albums. Well, Jung has connections to Doors too…

Jung was once quoted as saying:

“The dream is the small hidden door in the deepest and most intimate sanctum of the soul, which opens to that primeval cosmic night that was soul long before there was conscious ego and will be soul far beyond what a conscious ego could ever reach.”

He also had an inscription placed above the door of his house:

"VOCATUS ATQUE NON VOCATUS DEUS ADERIT." In English translation, the inscription reads: "Called or not called, the god will be there."

In a letter of November 19, 1960, Jung explains the inscription:

It says: yes, the god will be on the spot, but in what form and to what purpose? I have put the inscription there to remind my patients and myself: Timor dei initium sapiente [“The fear of the Lord is the beginning of wisdom.”] Here another not less important road begins, not the approach to “Christianity” but to God himself, and this seems to be the ultimate question.

#bts #bts proof #bts door #bts comeback #bts festa #bts festa 2022

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stuckinapatriarchalbullshitland · 3 years

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🌹 - ɟ

Hiii babies and dear Anons 👋🏼🤗 You know how it works by now. These are the answers to the asks Mari/Stuck sent me. And happy Valentine’s Day to you all!! 🌹🌹 Enjoy 🙃

A lot of people have been interested in them, dear Anon. From managers, to publicists, to sponsors, partnerships, producers, etc., etc. and no, it was never a problem between them. That’s part of their job.

No, dear Anon. Camila and Ashlee are best friends. Ash ships/ped Camren. She has helped them a lot of times. I know why you thought this. Just as I know it may seem that Ash takes advantage of Camila because she created a lot of videos with her, made two songs about her, and brings her up at every opportunity, but it’s not what it seems. Do you have any idea how hard it is to try to emerge as an artist in that world? Do you have any idea how many artists there are out there that you’ll never hear about because they’ll never make it to the top? Why do you know Ashlee? Thanks to 5H. Without having been their guitarist, you wouldn’t even know she existed. The fans that Juno has, are Harmonizers/Camilizers and some that she managed to make herself afterwards.

Ash is a real friend to our Mila. She has helped her more times than we could ever know, even by leaving the tour to help her friend. And Camila’s the same for her. Did you know that on June 13, 2020, in the face of the Black Lives Matter Movement she helped Ashlee sponsor a free scholarship for 20 black students to participate in the JUNO’s Guitar Bootcamp to help them create more opportunities in that field in their future? [Diana Foster, who I believe is her girlfriend or a great friend of hers anyway, also helped] Why on earth would Camila willingly help someone who ‘presumably’ would be taking advantage of her friendship? May I suggest you go watch one of the last videos they have together in Camila’s backstage? It dates back to 2019. Go watch it, dear Anon, and tell me if you don’t get an automatic smile on your lips.

Forgive me, Anon, with all due respect speaking, but what are you saying? “Camila has made mistakes (she has not been the best girlfriend possible)?” Are you for real? What are you talking about? Camila made her mistakes, but so did Lauren. So why are you only pointing the finger at Camila? Did you pay attention to their story? Did you hear/see what Lauren said on the podcast? Have you ever listened to their songs WELL? Because apparently, you didn’t. A couple is made up of two people and mistakes are made by two, not just by one.

No, dear Anon. Closer was never a song of hers in the first place, let alone one she could sell. The Chainsmokers wanted her in the song. She recorded a rough demo for them and then turned it down. I know that when she turned it down and they passed it on to Halsey, she wrote and contributed to some of the lyrics (she appears as a songwriter in the credits), so I believe she wrote those in the place of the ones Mila wrote in her version, but I’m not sure. I don’t know if Camila had the time to write her part like Ashley (Halsey) did, or if she directly recorded the demo as she did with The Middle. Until it’s leaked, we won’t have an answer.

The fact is that Closer was simply a project that was proposed to her when she was still in 5H and that she turned down because 7/27 was about to come out. Just as she declined to participate in Taylor Swift’s Bad Blood music video for them (5H). And I still wonder how the haters still consider her a bitch 🙄🙄

Ligas, or hair bands, or también se dice colitas, verdad? Or hair ties as I like to call them, were originally Lauren’s. Lauren had two on her wrist at X-Factor and then, magically, one ended up on Camila’s wrist. I personally think that was their first symbol, but of friendship. And no, dear Anon, they didn’t replace the rings. The rings didn’t yet exist at that time. If the rings were one of their symbols of love, the hair ties were symbols of friendship, at least in the beginning.

P.S. dear Anon, I would like that as soon as you finish reading this post, you’d type ‘garters’ on Google and click directly on images 🤣 I really, REALLY, love you for this, believe me 😉❤️

I watched all the interviews held in Spain in 2015 and you can see the differences, dear Anon. The two interviews with Revista Bravo and the one with Vodafone Yu are more or less normal. There’s tension between all of them because the big mess had recently happened. But in Alyson’s one with NSP PROJECTS and the one with LOS40 in which Alyson is in as well… Gosh… Your second question is my answer, dear Anon. Yes, they broke up, but that was even before they went to Europe.

As for your last question, on the one hand, I think she was single, attracted to the interviewer, and that she didn’t have to be accountable to anyone because being single, she could do whatever she wanted. But on the other hand, I think it may have been done on purpose for revenge since they’ve always played these jealousy games. I don’t think she managed to control herself though. It shows in both of those interviews, although it’s much more evident in the one with NSP PROJECTS. I don’t think she really realized the gravity of what she was doing because she was too wrapped up in Alyson and too busy in impressed her than everything else. I don’t think she noticed, at least not during the interviews, how hurt Lauren was.

I don’t want to tell you yes or no if her behavior was correct or not, simply because I don’t know if she did it because as I said she was single and didn’t have to answer to anyone, or if she did it out of revenge because she wanted Laur to be jealous. My instinctive response would be that it wasn’t corrected because of the effect it had on Laur who was also going through the dark diary period, but I don’t really know why Mila did what she did. She may have had her reasons, and maybe knowing them, my answer would be different, or the same. I don’t know because I don’t know the reasons behind this. Lauren has done a lot of things in the past that have hurt Camila, and Camila has done a lot of things in the past that have hurt Lauren. They’ve hurt each other many times. Sometimes on purpose and sometimes not. So I prefer to abstain because, at least in this case, I don’t feel like judging something I don’t know. Much less point the finger.

Hi @ camilalauren0327 😄👋🏼 yeah, writing is therapeutic for them, as it is for many other people, myself included. Dancing was for me as well. Many people find it therapeutic to play sports, others find it in various forms of art, etc., etc.

I don’t know if Camren did couples therapy 🤷🏻‍♀‍ I think if they really did it, they did it after 5H.

Doctors of all kinds, and therefore also psychologists, consultants, therapists, psychiatrists, etc. are bound by the federal law HIPAA (Health Insurance Portability and Accountability Act). Many therapists themselves indeed, prefer to establish confidentiality limits even before starting therapy. For example, the fact that they’re required to maintain therapy content is established regardless, but with you, they can determine who they can contact with your written permission, or if they can’t contact anyone. If YOU client prefer it, you can also establish that outside those four walls, you’re not really in therapy and that therefore if you meet your therapist in a supermarket, for example, they’ll pretend not to know you and will not acknowledge you at all in order to protect your client-therapist confidentiality. So, at the end of the day, it really depends on you and what you establish with your therapist.

This, however, is sometimes not enough for celebrities. Those who really, but really care about privacy and don’t want to take risks, require their therapist to also sign an NDA as a backup and reinforcement plan, so that it covers everything, including sections that HIPAA doesn’t administer.

Both, dear @camilalauren0327, and hi again 👋🏼😊 In the Consequences video and on the day of Say You Won’t Let Go she was paying tribute to Lauren and to the old Camila. For Consequences, that was one of the many symbols we find in the video that served as a clue. For Say You Won’t Let Go it was yes a tribute to Lauren and to old Camila, but it was more of a message for her. The song was for her, the bow was for her, and the rose on her pants was for her. It was like: “Hey, I’m still here. I’m still me. See the bow? See the rose? The song? It’s all for you. The title of the song already speaks for itself. Let’s try again”. That was indeed still the period of rapprochement between them. As for the other times she wore it, and I remember that she even wore it around her neck on more than one occasion, it was for style.

Sure thing, dear Anon 🙃 Curious is a song discarded from the album Camila, and I don’t know if you’ll like my interpretation, dear Anon, because this song is not about Lauren (for me).

Verse 1

“I lose myself when you start talkin’

There’s something riveting about you, it’s got me confused”

Camila finds this girl so fascinating, that not only does she gets lost when she talks, but it also makes her confused. Confused because she didn’t think another girl could have this effect on her while her mind was always on Lauren. And yes, girl. It’s not the first time that Camila has had to mask this in her songs.

“If we went back to your apartment

Would you be a gentleman and a bad boy too?”

She’s provocative here. She’s literally provoking and teasing the girl: “Could you be sweet and at the same time rough enough to slamming me against the wall?” If you know what I mean…

Pre-Chorus

“I know you think, I’m innocent

Little do you know where my mind has been?”

When you see Camila in videos and interviews, you’re hit by her energy 80% of the time. She’s this cute and goofy and clumsy and dorky ball of bubbly energy that cracks a smile from you all the time. She’s funny with her lame jokes that however always make you laugh, and most of the time, you see her in this innocent light. And it’s true. She looks like this innocent little bean that must be protected at all costs. But we also know that she’s far from innocent. And here, that’s what she’s telling the girl: “If you knew what I’ve been thinking about you, about us, about what I want to happen, you’d understand that I’m not that innocent after all.”

“I don’t have much experience

Could you relieve me of my ignorance?”

The only sexual experience Camila had had up to that point, had been with Lauren. So unlike this girl, Camila had only had one partner, and she’s telling her just that: “I don’t have much experience as you do. Could you help me out?”

“It’s true (It’s true, it’s true)

Been wondering about you”

Here she’s basically questioning whether the expectation equals the reality.

Chorus

“I’m just cu—, I’m just curious

What you do, just got the two of us

Hit me down, take me up

Can you teach me how to love?

I’m just curious”

She’s telling her that what they do in private between them, will stay between the two of them. And then… Ahem-Ahem! *Throat clearing* I’m really trying to hold back as much as possible here guys… If I hadn’t received complaints in the past about some of the answers I gave in other posts, I wouldn’t have had any kind of problem explaining exactly what she says sentence by sentence, but I’ll just limit myself by saying that she’s asking her to teach her to be more expert on the subject matter.

Post-Chorus

“Dum, dum-dum-dum

You got me feeling

Dum, dum-dum-dum

You got me feeling”

This girl makes her feel in a certain type of way that Camila herself refrains from saying what she really wants to say. Still if you know what I mean…

Verse 2

“I’m kinda nervous but I like it (Yeah)”

Because it’s a good kind of nervous. An exciting kind of nervous.

“Will you live up to the image that I got of you?”

Again. As I said before, she’s basically asking if the expectation equals the reality.

“You’re not usually my type, yeah

I think that that might be the reason that I’m here with you (Oh, oh)”

And this, speaks for itself. Who’s Camila’s type? With whom is she making the comparison? Who does she have in mind to justify her actions? She’s there with this girl because her type is who?

Before I wrap up, I want to explain to you why this song has nothing of Lauren for me. So I’m going to rewrite some pieces of the song to debunk it’s about Lauren.

“If we went back to your apartment”

Lauren didn’t have an apartment yet. She wasn’t living alone yet. 5H had two apartments that they shared together in the months of recording, and for the rest, they lived constantly in hotels. This girl (older than her) had an apartment.

“I know you think, I’m innocent”

Lauren and Camila had already had sex. Hello? Since the Like Friends Do situation. So she’s not talking about Lauren because she already knew Camila wasn’t innocent.

“I don’t have much experience”

Again. Experience she’d precisely had with Laur.

“Been wondering about you”

She had to wonder about Lauren if she had already been with her sexually? What would have been the sense?

“What you do, just got the two of us”

If she was really talking about Lauren, this would’ve been a big bullshit because there were people who knew about them. The ones closest to them for sure. Like DNA. DNA knew about them right from the start and lived their story basically along with them. Not to mention that they heard them on more than one occasion. Hell, even we heard them thanks to that takeover.

“You’re not usually my type”

Definitely not Lauren! Isn’t Lauren Camila’s type? In which universe?

“I think that that might be the reason that I’m here with you”

Exactly! This girl, whether it was physically or of character, wasn’t like Lauren.

Aaand these are the reasons why I’m 100% sure this song is not about Lauren, dear Anon.

Of course I can, dear Anon 😄

Cleopatra is a song discarded from the album Camila, and created during The Hurting. The Healing. The Loving. era. C ended Something’s Gotta Give in mid-March 2017 and we know it was the last song of The Hurting. The Healing. The Loving. era before the album name changed to Camila, so Cleopatra was finished before that.

Verse

“Ridin’ ‘round town in the backseat

Looking like the real deal

Looking real, real, real

Spent so long cuttin’ my teeth

Thought you were the real deal

But it wasn’t real, real, real, uh”

Camila is in the back of a car and, you know how sometimes you find yourself spacing out and thinking about something in those moments? Maybe by looking out the window but not really looking because you’re thinking about that something? It can be something trivial or something important, and in Camila’s case, in this case specifically, she’s overthinking about her relationship with Lauren. They had clearly broken up, and Camila is thinking about how she believed L was the real deal.

With ‘cuttin’ my teeth’ she used a slang to indicate that she learned something early in her life. The slang of cut my/your/her/his/their teeth was born in reference to the exit of the teeth from a baby’s gums and consequently indicates a first experience. So, here she means that she spent too much time learning the ropes believing for real that Lauren was for her, and then realize that she wasn’t.

[Don’t be discouraged and keep in mind that in this case, they were passing thoughts because she was definitely angry, bitter, and sad. We all are after a fight or a breakup with a partner. Besides, we all know that L is the love of her life. Think of songs like Never Be the Same (It’s you, babe), All These Years ('Cause after all these years, I still feel everything when you are near), Taxy (The greatest love story that’s never been told), and many others up to one of the ‘most recent’ ones: Anyone (You are the only one I’ll ever love) 😉]

Pre-Chorus

“Every night it was a different fight

It was a different girl

It was a different lie, ooh-ooh

Every night it was a different fight

It was a different girl

It was a different lie, ooh”

Aaaand back at it again with their communication problems. Even if she has generalized a lot here, she still makes us understand the essence of the problem.

Chorus

“I think I kinda wanna cut my hair like I’m

I’m Cleopatra”

When people move on or try to move on after a breakup, what do they usually do? They look for a change. They want to separate themselves from their past selves, of the ones they were when they were in a relationship with the person they broke up with, and they seek a change, aka self-improvement. Most of the time visual, and therefore physical. This change is seen as a new beginning, a new chapter in their life where they want to feel good again. They want to feel attractive. And this is how self-innovation begins. Some go on a diet, others change their style and wardrobe, and then there’s what many see as a rite of passage: a new haircut.

Camila in this case used Cleopatra’s cut as a metaphor for the change she wanted to make about herself. Cleopatra is one of the most famous known queens in the world. Strong, intelligent, powerful, and that radiates charm in everyone since ever. But Camila isn’t talking about Cleopatra the person. She’s talking about her haircut. Cleopatra’s cut in this case is a symbol of power and freedom for Camila. Remember how I said earlier that Camila finished Something’s Gotta Give in mid-March and that she finished this song before that? Well, although this song talks about 2015, it was made in 2017. And guess what happened in that same period? Camila cut her hair by getting bangs. To be precise, it happened on March 31, 2017 (picture + caption: “joined the bang club now”). Coincidence? Yeah, sure, I don’t think so. Plus, although she used it as a metaphor, Camila has actually always wanted a Cleopatra cut, thing that, if you think about it, she now has for real. [Oh, oh and, rumor has it that Cleopatra was bisexual as was 100% Julius Caesar🤫🤭]

“Wanna dance on cars

And forget it all after

Skip these sad love songs cause I

Need something faster and now baby

Kinda think I’m ready”

The freedom I was saying before? (Cleopatra’s cut in this case is a symbol of power and freedom for Camila) She talks about it here. She used the wanting to dance on cars and the skipping sad love songs as figurative expressions of the freedom she wanted to feel, and that she wanted to feel fast because there was gonna be no crying in the club this time. 🤣🤣🤣 Sorry, dear Anon, I had to 😝 No but, seriously though. She just wanted to shed the past and move on right away because she was ready. And she was also ready for the power part I referred to earlier that she explains here:

Post-Chorus

“Needed to be all eyes on me

Baby all eyes on me, ooh

That’s what I want

Needed to be all eyes on me

Baby all eyes on me, ooh

That’s what I want, yeah”

Now. Now, now, now, now, now, now, now. We have a double interpretation here. I’ve said this before, and I’ll say it again: Camila is a fucking genius. And being the fucking genius lyricist that she is, she used a double meaning here to let everyone interpret this part as they please. The double interpretation is so well hidden, that people who listen to this song without knowing the details, such as for example knowing something about Camila’s life or the year the song was made, would never know because they wouldn’t even notice.

The first interpretation ties into what she says about wanting to dance on cars in the chorus. That’s also a way of saying she just wants to dance thoughtlessly and have fun, but on cars? It’s a metaphor to say that she wants to do it by drawing everyone’s attention. I want you to picture something now, okay? Picture a party with a bunch of people dancing and drinking, and in the midst of the fun, someone climbs on the hood of a car or a counter or any other high surface to keep dancing. Can you picture what would happen at that moment? Can you picture how all the people there would turn to look at that person and shout, clap, and cheer them on? Now picture the same scenario with a person still climbing on something high, but to announce something. It’s the same thing. It’s the same purpose. Getting on top, getting on top of something, is to automatically draw attention. So the connection that leads us to the first interpretation is: Wanna dance on cars - Needed to be all eyes on me.

The second interpretation, on the other hand, is basically the same as regards wanting attention on her, but with another direction and another chorus sentence. Camila is a singer. She’s a performer. She LOVES to perform. She LOVES the excitement, the adrenaline rush, the anxiety, the nerves, the pressure, and the feeling of shitting herself before entering a stage. She LOVES the almost blinding stage lights, the screams, the cheers, the applause, and all the love from the fans. She LOVES mastering the stage, interacting with the audience, and delivering a show. She sings her heart out and LOVES it when the audience sings back to her. She has so much passion and she’s so fucking good at what she does. Why am I saying all this? Because with this hidden interpretation, Mila refers to her solo debut. Like I said, this song was made in 2017, remember? So the connection that leads us to the second interpretation is: Now baby, kinda think I’m ready - Needed to be all eyes on me. Ready for her debut.

Both indicate the attention and power (feeling of power) that I mentioned earlier that comes with it.

Bridge

“See, see

You right to be that

You bein’, you needin’

See, see

You right to be that

You bein’, you needin'”

This part is cryptic. Since they broke up here, I think she’s just saying that it’s okay. That it’s okay for Lauren to be the way she is and that it’s okay if they’re letting each other go (Yeah, sure, Jan 🤣). No hard feelings. Or at least, that’s my interpretation.

—

Before concluding this post, I’d like to make amends. My friend, the same one I ‘roasted’ in my last post (📄 - ɟ), hey, hi girl 😝 literally shoved her phone in my face a few days ago to show me an ask sent to @emisonme (hi to you too if you’re reading 👋🏼😄) in which I was mentioned. I’d like to apologize to all of you because I made a mistake, although not intentionally. I didn’t know Simon was no longer one of the directors of Simco Limited. I went to check it out and immediately understood why I didn’t know. Because it happened more or less recently (on September 17, 2020) and I hadn’t done a thorough research on the piece of shit since last summer (July) when Syco integrated into Sony.

I got really mad at myself for doing one of the things I hate: giving out wrong information. Camila and Lauren are ‘free’ from Simon, and I put that in quotes because one of the clauses that are in every Simmenthal Cow contract includes not being able to speak ill of him. I’m not kidding. This is a piece of an article from many years ago that is still on the internet today that talks about X Factor contracts: “The contract, which runs for 80 pages, also reportedly states that the rules are enforceable anywhere ‘in the world and solar system’ and that artists may not be critical of the company, ‘including its personnel and, in particular, Simon Cowell’. The contract makes clear no-one can speak badly of X Factor supremo Simon.”

Supremo… Supremo? Like what, the Supreme from American Horror Story (some fans of the series like me here)? Should I start calling him Cordelia? No, no, no, no, no, no, no. I could never. I’m sorry Sarah (Paulson) for even giving it the slightest thought, love. I’m deeply ashamed. Sooo, like what? A supremo Super Saiyan (Dragon Ball)? If he clenches his hands into fists and screams, does his hair turn blonde? No, huh? So like what exactly? The supremo asshole? You know what? It doesn’t matter. He’s ridiculous enough per se.

Anyway. Camren are free I hope completely from Simon, but we don’t know yet if the contract ended along with Simon’s exit or if it’s still standing. We’ll see as soon as one of them releases a new song.

Please accept my sincere apologies, guys 🙏🏼 And thank you @emisonme for giving me a great news, albeit indirectly. You’re a real one 😊

🤸🏻‍♀‍🤸🏻‍♀‍🤸🏻‍♀‍

Aaand I’m done 🙈 I hope I was helpful in this case too. As usual, I’m always available for those who have questions, so feel free to ask 🙃 And as always, I thank Mari for giving me space in her blog and for making this exchange possible, and thanks to you Anons for your asks 🥰

Be kind, to others and to yourselves. Be a good example. Be patient. Be safe and take care of yourselves. Sending you virtual love and hugs 🤗🤗🤗 I love you, babies. Always with love, F ❤️

P.S. who wants to be my virtual Valentine? 🌹 🌹 🌹

____

I have to say sorry to F again because this submission should be posted last night and I couldn’t. Thanks for the long ass post F.

Another advice, I closed the inbox for anons as you know and I will open it again in a few days when I don’t be too busy. Save your asks for F anyway, anons!

#submission #f anon #long ass post #valentine answers #sorry for the late post #anon #ask #f answers

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fykimtaehyung · 3 years

Text

V: “I wish we were back with ARMY, laughing together”

During V’s photo shoot, he’s wearing a different expression in every photo on the monitor. They create a tension and an anticipation because we have no way of knowing what he might do even one second later. But the result is cool from start to finish. It’s V. How are you doing these days? It’s been a long time since you were able to see your fans. V: I’m not over-stressing about how I can’t meet the fans face to face right now. I just want to see them when it’s safe to meet. I think now, I can wait until then. As your song says, “Life Goes On.” You decided to keep going on with your life. V: We have to move on. We can’t feel defeated forever. I felt a lot better after making some songs. Other than working on “Dynamite,” you’ve spent very little time away from home. How do you pass the time when you’re by yourself? V: I really like just spacing out, so I’ll sit in my room doing nothing for hours. I could try putting on a movie, but then I couldn’t concentrate and would just zone out. When that happens, it’s kind of like I’m living without a thought or care in the world. Maybe I should make a song about all of this someday. Probably call it “Spaced.” (laughs) Anyway, these days I’m looking for ways to keep myself happy. Have you found anything? V: Well, I’m listening to LPs lately. It’s getting to be Christmas season and I love snow, so I bought two or three Christmas LPs to listen to. I’m also listening to old jazz songs by Frank Sinatra and Sammy Davis Jr. Frank Sinatra is cool, like chilled wine; Sammy Davis Jr. is crazy talented. (laughs)

So that’s the type of performer you find cool. V: Those two were also a big inspiration to me while we were working on “Dynamite.” Sinatra has all this jazzy body language, but he also threw some disco in there. And I imagined how Sammy Davis Jr. might dance if there were a mic on stage and he had to dance around it. They were a lot of help when I was finding a way to be upbeat and cool at the same time in “Dynamite.” I guess making “Dynamite” must have been some consolation even when you couldn’t meet fans due to COVID-19. V: We couldn’t put on a concert and couldn’t see ARMY, so we were feeling more and more drained. It seemed like an endless battle. We really wanted to see ARMY feeling better, so we had to get back up on stage and make another album so that together we could beat this thing. I want to be the friend who’s always cheering ARMY on, but there aren’t many ways to make them feel better. How was the whole “Dynamite” experience? You made it to the top of the Billboard Hot 100 and also had a chance to perform in a variety of different styles. V: Shooting the Tiny Desk Concert was a very natural process, which was nice. But actually, with the situation being what it is, we couldn’t really feel much. The day the news came out was of course thrilling. It was great, actually, all of us calling each other and some of us laughing and others crying: “We haven’t gone down the wrong path after all! Turns out we had a chance—it really was possible!”

While you were performing in “Dynamite,” you were also the visual director for BE. I’m sure you were unimaginably busy taking photos, but were you able to communicate well with the other members? V: We communicated smoothly, and I listened to all of their concept ideas and I organized everything around that. If we tried something too natural, it wouldn’t be conceptual enough, so we did our best to strike a balance. You had everyone sitting in the middle, with the set arranged symmetrically around you. V: That was made possible thanks to everyone having their own ideas. There was no overlap between items, which actually allowed us to create a sense of unity by placing all these different props symmetrically. It wasn’t intended to be symmetrical; each member really did choose something unique. In your room, you included a violin and a photograph. V: That’s a picture I took. I like photos and drawings, but if I had used any art then I would’ve been using that one particular artist’s work, so I thought I’d better use one of my own photos. I ended up choosing the violin because I learned how to play it but also because I enjoy classical and jazz.

So how do you feel it turned out? V: I made it, so naturally I like it. (laughs) Part of me thinks I should’ve tried something more conceptual. BE was supposed to give off sort of a magazine or poster feel since we didn’t shoot many of those, but it ended up having more of a natural feel to it. But I did think that the next time we try to make a photoshoot conceptual we should move away from that natural look a bit. The group explained their ideas clearly and they were simple enough to do, so I think it all went really smoothly. It sounds like there were no problems choosing the songs for BE. How did you feel recording your parts on the other members’ songs? V: I like “Dis-ease,” which Hobi wrote, but stylistically it was challenging. It’s really far from my own style so it took a long time to get used to. “Fly to My Room” used to be my favorite song, but it was also the hardest to sing. It was okay at first, until Jimin jumped in. What about Jimin? V: Because I had to keep up with Jimin, the song went up maybe three keys. I thought I would die. (laughs) It started out as my favorite song, but it was just way too hard to sing. But why did you have to sing that way? V: Jimin said he was sorry, that he couldn’t go any lower. (laughs) When I first heard the demo version, the key was perfect for me, so I thought it would sound great and I should definitely do it. But then Jimin said he wanted to do it too, so I said, “Great, let’s do it together.” Turns out we went up three keys. So I said, “Hey, what’s the deal? Should I just give up?” But, well, somehow it all worked out in the end. It was a happy ending. (laughs)

People might be able to hear that part better because it’s so much higher. (laughs) The tone of your combined voices and the way they contrast is really impressive. V: Yes, but all that aside, it was quite the struggle. (laughs) And the chorus is really long. I think it repeats, what, four times? Yes, it feels like the chorus never ends. The production style is very unique. I like how the emotion is carried through the whole way. V: I agree, but it’s so long. The chorus turned out crazy, like I was kind of beating the melody into people’s ears. (laughs) The chorus is good, but the whole song’s melody is really catchy. Whenever I heard the beat, I was totally into it. The way the vocals pick up on the beat and the melody was so original and fun, I just had to do it.

#201125 #taehyung #v #bts #bangtan #t: interview #sorry i split it i thought the initial part was rly important to highlight

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nobody-knose--archive · 3 years

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i’ve been aching to commentate spirit phone’s commentary for ages. glad i finally got around to it, this was an ejoyable experience. liveblog below the cut

-i'm like half certain i've heard this commentary before. maybe not the whole way through & it was probably actual years ago

-nice hearing stuff like this. in-depth personal view of the album-making process. makes it seem like more of a real thing i could do myself someday

-neil cicierega real person momence

-i could probably go real in depth about neil cicierega/tally hall parallels specifically concerning like. the arc of their musical careers. but i won't, here

-wild how i legitimately don't care much about micheal jackson

-didnt we get a bunch of spirit phone stems from the needlejuice release/his patreon? we could probably hear the funny track he speaks of here in that

-i love hearing musical artists, especially neil cicierega, talking about the meanings of their songs. like, not only has this song been claimed to hell & back by the tumblr gays, but with later ones i just can't see where he gets these ideas from. also, claiming there's any one meaning or plot to a song just seems silly to me

-shoutout to neil reusing a midi from like, 1998, that he made at 12 years old, whose entire melody was reused for the main verses of everybody loves raymond. loved finding that out on my own 2 years ago. now it's common trivia in this fandom. not bad times

-it'd be neat if neil did individual trans tracks here like he did with view monstel, those things are half of why i consider it my favorite album

-it's a lot easier to ignore the creator's intended meaning behind a song when he can't even remember it. thanks neil

-seesaw effect

-and there's my joke all but 1 of my followers wont get. moving on

-what kinds of movie theater lobbies has neil been to where there are arcade machines. i mean im not one to talk but that does sound rather strange

-why do songs' titles even need to be taken from the lyrics. ive never seen that as any sort of requisite. it's like titling any form of prose you can just give it whatever name ya like

-"this part sounds pretty cool right"

-is neil's vocal range only mildly better than mine? with training i could change that

-oh i haven't processed any of the last 25 seconds hold on

-god. a shit ton of vocal modification in this song. it's like neil returned to his roots but with quality this time

-i, as an ace/aro, have never related more to an allohet guy in my life. what is the point of eyes!

-professional humming/whistling takes skill. it's different from the recreational or casual stuff. i'd know

-there's a name for the way sound (especially music) gets distorted when moving past you and i can't remember it but it's probably what neil's referring to here in the way he recorded the intro

(- update: it's the doppler effect no need to tell me cas already did)

-as someone who hasnt seen the rugrats or take me there by blackstreet i'll just say it sounded like a bouncy music box melody. nice to hear a song that messes with the typical scales though. lydian & diatonic.

-that's a rather specific thing to be glad about, but given what he talked about in his last full audio commentary about the jew harp i suppose i'm not surprised

-i know that tmbg song now. listened to it & saw the music video too. yep they're different alright

-where the hell does neil get all these instrumence from anyway

-huh. hadnt heard this part of the commentary before making my oc concerning this song but i like to hear neil's approval concerning part of my interpretation

-i love how ive heard a billion different tellings of this mellified man story from lem dem fans talking about this song and neil's is by far the wildest

-good god that does only make it worse neil

-i love making liveblogs of lemon demon albums. with the fullerenes or tally hall i cant name a specific dude to take out my woes on generally but with lemon demon i can just say neil all the time. i like being on a casual first name basis with this dude ive never interacted with once ever

-is sweet bod the one other than cabinet man with a demo in the bonus tracks? i forget

-holy shit the boston molasses disaster someone call up soapy if it doesnt already know, it'd love this

-two thousand nine. god i miss the fiddle solo. the ver with it is truly the best one

-he pronounces it jeff? i've always read it as gef with a hard g. that's what i get for knowing words that are never spoken aloud

-that's a fun meta interpretation of this ghost story that's over a century old. i like that

-i've noticed neil generally does the same synths across a whole album. it's especially more clear in the earlier ones, and does mean i occasionally mix up songs between clown circus & live from the haunted candle shop

-ah! ancient aliens! my least favorite track on this album. i cant even claim to have the least interest in a popular one i've just generally not liked this one much from the beginning. so im curious to see what neil's got to say, i think ive been in ~new commentary zone for a while now

-anyway. newest update on the loolin not realizing a song's funky time signature front: i think this one's in 6/4. or at least switches a lot between time signatures. granted i dont listen to it very often for the reasons stated above

-see the way neil describes it. eldritch horror upon being visited by the unknown at a time when humanity'd hadn't even yet had a chance to imagine such a thing occurring. should be right up my alley. but the sound itself & many of the lyrics simply turn me away.

-must i specify i don't dislike it? spirit phone is neil's best album it not being my favorite doesn't mean i think it's bad yadda yadda nobody should be surprised by this it's not like anyone in these fandoms reads my liveblogs <3

-granted i think this is. the first bit of spirit phone content i've made on my blog ever. so who knows things can change <3

-the transitions in spirit phone are much less view-monster transition tracks & more extended outros. view-monster's were a bit more intro than outro sure but they also seemed directed upon making a 2-way rather than 1-way bridge between tracks. or something like that

-.............soft fuzzy man is an incredible nickname for a cat. i'd steal that if i werent afraid of introducing my relatives to lemon demon

-jirls

-an underlying metaphor is good enough. the literal side of the lyrics are fun. nothing but agreement here neil my good man

-the transition into as your father i expressly forbid it from soft fuzzy man is the best one in this album

-buddy you ask if a musical idea has been used before odds are the answer is yes in this day & age the question is has it been used in the way you're using it. like sure this soul jazz record from the 60s that was sold out in kansas stores for a week used this bassline that youve found yourself copying. but seeing as youre using it in some angsty garage rock ballad type tune does anybody actually care

-doesn't everybody like to say things in an unhinged manner from time to time

-imagine having a guitar dad, i say, with my dad being a folk accordion/fiddle dad, which is infinitely worse in every way

-i think he was in an actual folk band at some point. idk the 90s were weird

-iron my life?

-m-more intimate? there are a lot of ways i'd describe this song but intimate isn't one of them. granted as your father is negatively intimate so from there i guess you've got nowhere to go but up

-...still glad to see his interpretation kinda supports my oc at least

-the way he says characters in songs shouldn't worry about death really strongly makes me think this is some sort of. thematic continuation of stuck from dinosaurchestra, even if there's no real death in there. interesting. would also mean that the dad from these past 2 songs is named carlos betty (no last name)

-i literally never assumed this was a flute solo. piccolo at best. it's pretty clearly a recorder

-my mom plays the recorder. i wonder if she can play recorder better than neil cicierega

-we can throw a party in honor of the crushing weight of responsibility! i simply won't be the one throwing it because i have enough on my plate already <3

-what the hell does "a sense of intent" mean

-i've never heard rush before however i disagree with neil's understanding of 6/4. 6/4 is meant to have emphasis (onbeat or another term i can't remember) on the 1st & 4th beat of every measure, which is greatly different from a measure of 4/4 then a measure of 2/4. it's why his 5/4 always sounds weird, because while it's recognizable in sequences of 10/4, it's more 2 measures of 4/4 with one of 2/4 tacked on the end. that's also how it's different from 3/4. i don't know much music theory but what i do understand i will fight to the death about

-"canonized" that's. a very interesting term to use when referring to a former president

-from now on i will interpret every love song directed at some unseen "you" to be inviting me to marry them for tax purposes. thanks neil for being an aromantic icon

-ah hell yes hell yes man-made object is my favorite goddam song on this album

-short & sweet & good damn vibes. neil's thoughts on it all are only making it better

-wild how he uses very few vocal effects for a song that he clearly is straining his vocal range for. go off neil

-the qualifier of man-made is a wonderful thing. oldest or biggest thing? oldest or biggest man-made thing? what a incredibly important specification. a world of possibilities lie between the two. oh i love it

-just gets me thinking yknow! what we consider weird/impressive in another species, in our own species- what kind of equivalent to that would there be from an outsider looking in? are there alien versions of the significances we place upon things, that we could never imagine? the limits of the human imagination mean we could never conceive of something else in the world that isn't, in some way great or small, just like us- and are we wrong for thinking that? such a juicy topic i wish there were a name for it because it's kinda hard to explain concisely

-spiral of ants. my second favorite song from this album, in fact. a good one to experience

-the vocals are just another instrument. they really truly are. i wasn't going into this commentary expecting to feel solidarity for neil cicierega in this chili's tonight on more than one occasion but here i am.

-like, his whole stance on interpreting songs is something i agree with almost entirely. you can take it at face value, you can dig to their very depths, you can listen to songs without caring what the lyrics mean whatsoever, and those are all fun. & yeah while any of these people can be annoying as one of the types who enjoys gliding on the surface more than anything i find those who dedicate themselves to figuring out the whole meaning of a song over anything else to be both slightly scary & slightly annoying <3 keep up the good work

-i want to make songs for my siblings the way neil makes songs for his sibling(s)

-spinch

-neil really shouldn't be allowed to be this funny like this whole album youre thinking golly! he's just a normal man this neil cicierega! and then he starts listing the cat hacks jokes & you remember he's had ridiculously consistent viral success with all his humorous endeavors and holy shit it's neil cicierega in action talking about his music. god bless you neil

-you're welcome, no problem, my pleasure. good eveternoon, radio audience!

#lemon demon #spirit phone #pretty sure this is my first bit of spirit phone content on my blog. hi greater lem dem fandom nice to see y'all. go listen to deporitaz #loolin liveblogs #i enjoyed this less for the content the commentary contained & more for the way i handled it. more pleasant than some times ive had #tis i #i havent listened to spirit phone in general in ages. i know why. so this was nice #to the world and back again

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fyeah-bangtan7 · 3 years

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Jin: “It feels like my memories of ARMY were all a dream”

#bangtan #jin #m:weverse magazine #o:interview #201126

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dreamsister81 · 3 years

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"If you listen to the lyrics of Hallelujah closely, you notice it’s a song about sex, about love, about life on Earth. The hallelujah isn’t a tribute to a worshipped person, an idol or a god, but it’s the hallelujah of orgasm. It’s an ode to life and to love."-OOR, August, 1994

Why did you cover a Leonard Cohen song?

Because I find myself in Hallelujah, not because of Cohen.-Knust interview, September 13, 1994

“Any of the covers on the album are there because they mean a certain thing in my life that I love and I miss. One day I was house-sitting for a friend and she left her whiskey out and I got into it and hit this horrible sorrowful jag. I went to the gig-Sin-É, in fact-weeping like a fucking animal. The whole time. I sang ‘Hallelujah’ that night and I got through the show just on the edge of tears. I don’t know why. It just wells up inside you."-Hot Press, October 5, 1994

And this version of Leonard Cohen's "Hallelujah", does he know the John Cale version? "Well, actually, I'm playing John Cale's version, that's where I got it from, from that record "I'm Your Fan" that I listened to at a friend's house. I also know Leonard's original, but he doesn't sing every verse, the way John interprets it is so...simple."-Rock & Folk, October, 1994

" 'Hallelujah' for example I learned in New York from John Cale after a year working at Sin-é on a day when I found myself crying like a baby and that song expressed exactly what I was feeling. A title like 'Hallelujah' makes one think of the church, of morality and instead there is a deep humanity inside, there is the idea of making love, losing love, being crucified. Leonard wrote ten verses for that song and I don't know why he didn't sing them all, I just chose the ones I felt were most mine. He has this extraordinary ability to grasp the fundamental element of a certain situation and to "steal" it, make it his own and build the text around it."-Rockerilla, October, 1994

The artists you've covered so far are Van Morrison, Leonard Cohen, Alex Chilton, they're connected on a certain line. It's kind of cult people or like that. Do you select those songs consciously?

It doesn't matter who's song it is. I did it because each moment in my life matched the song so well. For example, Leonard's "Hallelujah." One day, I was intoxicated with so much sadness, I was totally wasted after drinking whiskey and practicing this song. Right after that, I went into the gig as I was, and I was screaming like an animal. I'm singing that song with those experiences in mind. I have to be myself before the song exists.-Rockin'on October 1994

"Hallelujah, I was just housesitting for a friend, watching her cats while she was away and I got into her whiskey and got into her record collection and there was there was John Cale's version of Hallelujah on I'm Your Fan. And I'm not...there are Leonard Cohen enthusiasts...it's not because of Leonard that I did the song, it's simply because of the song and because of the verses. I'm just in there somewhere. I have no blood bound allegiance to Leonard, although i have an incredible admiration and real great love of his work you know? There's a difference between somebody who's a total Tom Waits freak and just somebody who just likes to listen to them, and you know, the Tom Waits freak will know everything: the demos, the back in the days when he used to sound like Billy Joel, blah, blah, blah...hear the European demos, well, he didn't used to, but back when he was a bit smoother. You know, just knows everything. And I don't know everything about Leonard Cohen, and I haven't read Beautiful Losers, and I haven't done that, but it was just a great song."-WBCN's "Nocturnal Emissions", October 23, 1994 in Boston, Massachusetts

" 'Hallelujah' I didn't do it because it's by Leonard Cohen, but because I like the song. Based on that it was done for all the songs, including mine. The version that inspired me is a John Cale version with all ten verses, unlike the way it appears on Various Positions. The night I first proposed it at Sin-é was a special night, I had also been a bit of a jerk. You see, the word Hallelujah has its own definite sign, you connect it to the church. Instead, for me it is a word that celebrates something very human, it speaks of a deep connection between pain and the human condition. That word has nothing to do with being nailed to a cross: there's when you're hurting, but there's also when you're making love, when you're losing it."-Buscadero, November, 1994

"The fact that I did Leonard Cohen's Hallelujah doesn't mean anything, Cohen is something you discover when you're discovering life, you don't get there when you're very young."-Rumore, November, 1994

"Finally, Leonard Cohen's Hallelujah not for the meaning of religious purity that anyone can see, but for more earthly reasons: pain, sex, orgasm and the cruelty of everyday life. I believe in people, not in heaven. Without people God would not exist, he would not make sense."-Tutto, February, 1995

I wanted to ask you about your version of "Hallelujah". I guess its based more on John Cale's version than Leonard Cohen's original?

Yeah. But I heard the one on (Cohen's album) Various Positions first. Then I was stuck in a room with that I'm Your Fan CD (a Cohen tribute album) and I listened to (Cale's version) and it was, again, very simple. Then I heard that version one time again in Tower Records, and I was just struck. There and then, I thought, "This is wonderful ."

But am I right in thinking you don't really rate your version, compared with Cale's?

Well, he's a man. Mine's too fast. I know the difference between myself in a totally empty situation-which is best, where anything can happen-and in a situation where something's expected. And I don't feel very good about that day, and the time I chose that song to be included on the record, it was between that version and another version that I really despised. All in all, there must 22 versions floating out there. It's just never the right time. It seems that the only right time is when I'm telling it to people. And I guarantee, I have mashed that version into the ground nightly on tour, just creamed it. And there's also a version on the master reel for "So Real" that, because I was so wiped out and exhausted after that day-we'd recorded "So Real" and I recorded one last "Hallelujah", and that was my best one-I just forgot about that "So Real", I was so tired. So it's just hanging around out there. C'est la vie. Part of making records is letting stuff go.-February 28, 1995 interview, published in Uncut, September, 2004

I tell him that Bono loves Grace and says that Buckley's cover of Cohen's Hallelujah is better than his own. (Buckley plays John Cale's slightly altered version of the song from the I'm Your Fan tribute album to Cohen.) Buckley slumps back in his chair, as he does when on the defensive, and curls his lip in a manner that accentuates his resemblance to Matt Dillon. "I don't think I did that right," he sighs, passing over the compliment without comment. "I hope Leonard doesn't hear it. The way I do it live is better. I did it all live in the studio, there's no overdubs at all, but I pop it in unexpectedly in the show and it works better. The way I did it sounded more like a child and sometimes I've sung it more like a man."-Mojo, March, 1995

"It's a hymn to being alive. It's a hymn to love lost. To love. Even the pain of existence, which ties you to being human, should receive an amen-or a hallelujah."-Schwann Spectrum, Spring 1995

"I found myself in that song and I performed it many times in solo shows. But I'd be neglecting something if I didn't say that I learned it from John Cale. John Cale was the one that brought it to recording first, on the tribute album I'm Your Fan and he used these lyrics, these verses, for the song that didn't appear on Various Positions, which was the first album that Hallelujah appeared upon. I was house-sitting for my friend Susan and she had some whiskey...I don't know, I just hit a big, really bad sorrow jag and put on the song, and it was so simple the way John sang it that the words went through me, and I learned the words that night, played it that night at my gig at Sin-e...I don't know, it just stayed with me ever since. I wasn't gonna put it on the album at first 'cause I didn't write it and it would be kinda cheesy but I thought better after a couple suggestions from a friend of mine, and I did. Unfortunately, I think people will ask for it until the day I'm grey and old and fat, which I don't like, so I'll have to write something better, and I will."-Sony promo interview

"He has a unique talent for making everyday life poetic and surreal-the most difficult way to write. However, on Hallelujah, I much prefer the lyrics rewritten by John Cale for the I'm Your Fan compilation. It is this version that I have taken up, not Cohen's version."-Les Inrockuptibles, July, 1995

"That's not a hallelujah of chasteness and piety," Buckley explains. "It's more menstrual. It has more to do with the hallelujah of orgasam, of pain, of joy, of flesh, of being tied to the earth. Not of invisible angels in heaven who may or may not come down to tell you how good or bad you are, or Santa Claus."-Sydney Morning Herald, August 25, 1995

#jeff buckley #hallelujah #mylove #supremebeing #favorite #music #behind the song #it's NOT a bloody Christmas song folks #or meant for a church or kids #please and thank you

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clumsyclifford · 3 years

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just finished writing this and realized how long it got oh jeez i am so sorry. i promise it is just me rambling about nothing and does not require a lot of thought.

i made a playlist of r5's entire discography and am listening to it (in order) because there is something wrong with me. if only it had their very first ever ep on it (ready set rock ep you may have been slight garbage but i don't love you any less for it). oh god i realized i fucked up and didn't add the songs by "ross lynch and r5" from the austin & ally soundtrack. i'm already three songs into louder and they would have been between louder and say you'll stay. what do i have to do is actually one of r5's best songs and i'm pretty sure i remember ross calling it one of his favs fairly recently?? which was so valid of him. anyways. this is now an r5 song ranking. i'm bored and avoiding doing assignments. i'm going to name my top 10 r5 songs off the top of my head. source: me trying to remember every song they've ever released.

no. 1: easy love. nothing comes close. my fav song they ever made. they haven't made anything that even compares since (this is /hj. tde has some valid songs).

no. 2: wishing i was 23. what do you mean i only love this song because of my nostalgia bias no i don't.

no. 3: what do i have to do? i will not elaborate i do not know why i adore this song as much as i do it's just a cute song.

no. 4: repeating days. THE END. THE FUCKING END AFTER THE SONG ENDS THE "all i've got is cheap wine" PART ross sounds so vulnerable and him with just the guitar makes me so :(((((( it's so gorgeous that part makes the whole song and that makes it top 3 for me.

no. 5: i want u bad. THAT SONG FUCKS LIVE. I DO NOT WANT TO THINK ABOUT THE FACT THAT I WILL PROBABLY NEVER SEE IT LIVE AGAIN. (speaking of concerts i can't believe you bought concert tix and fucking forgot??? that is actually so fucking funny bella it made me laugh i will not lie)

no. 6: dark side. so so valid of them. it just fucks. it's so good. it makes u want to dance. u named a fic after a lyric from it which was so valid.

no. 7: did you have your fun? i love this song. no i will not elaborate. it is a sexy song. what's that one lyric from it that's hot. "love me, leave me, left me numb" some lyrics you love for no particular reason and for me that's one of those lyrics.

no. 8: f.e.e.l.g.o.o.d. this has alwayysss been one of my favs by them. since it dropped. some lore about it: the like crowd yelling that's in it they recorded live at a festival they played and i remember there being hype about this being an unreleased song when they had the crowd chanting "f-e-e-l-g-o-o-d" with no explanation. also another fun fact is that the final version of this is just a demo?? source: my slightly faulty memory remembering ross saying something about some demos being so good that you keep them as they are and it later being revealed this was the song he was talking about.

no. 9: i know you got away. sexy song. they released a vocals only version of it (that has apparently since been deleted?? i went to look for it on youtube and couldn't find it?? wtf r5) that has stuck with me ever since.

no. 10: loud. but more specifically the acoustic or live version. this was their encore song that they played to end every show. i MISS IT. it holds a special place in my heart.

honorable mentions: hurts good (a good song and THEIR LAST THEY EVER RELEASED VV SAD), wild hearts (fun fact almost picked a lyric from this song as my senior quote till i found out they didn't write this song), fallin' for you (YOU LIKE MISMATCHED SOCKS WITH POLKA DOTS YOU LIKE YOUR PIZZA COLD I THINK THATS HOT i never saw this song live and i'm still fucking pissed about it ok), do it again (it's such a sweet song :(((( "listen to the airplanes as we count the stars" gives me the same vibes as six feet under the stars), things are looking up (generally just a cute song!! this whole ep is just very good and very cute!! when i saw it live one time during the bridge ross was like "everyone shut up this is my favorite part >:(" and that was so valid of him) i can't say i'm in love (it's just a fun song!! it was a bonus track on sln from another country), trading time (this is the only song from the new addictions ep that i listed and u know what i'm Not sorry)

ok. i will spare you and stop rambling. other honorable mentions: if you have never listened to cool girl (feat. the driver era) by new beat fund i highly recommend. it's an okay song but it was one of the first songs released after they rebranded as tde and includes ross saying motherfucker with his whole chest. i will never again feel what i felt the first time i heard that song having listened exclusively to them as r5 whose songs they couldn't curse in because they were on a disney label.

in conclusion. i miss r5. ross saying fuck is kinda hot. i listened to the entirety of louder while writing this. i am sorry to dump this in your askbox. i still have multiple assignments to do and should probably go to sleep at a decent time. it feels fitting to finally stop writing while easy love is on. when i was 12 and this ep came out i thought "dirtbags" was a curse word and was scared to sing it. they changed it to "douchebags" live.

that's all. goodbye. have a lovely night. listen to r5's discography for clear skin thriving crops etc etc. sorry to lovepost about them in your askbox i only have (1) former r5 mutual that i still talk to (a very interesting but long story. she's the gemini bestie) and she will only lovepost about r5 once in a while. feel free to ignore my ask calling cody bellinger hot i was a different person when i wrote it i am now a changed woman. LOVE YOU MWAH - bella but she misses r5

hi hi im going to answer this with minimal thought because im tired but i dont wanna leave this sitting in my inbox forever but for the record all your r5 opinions are valid. ok lets go

1. easy love slaps ive heard it a couple times over the last few days (it played in the car today while i was driving sam n meghna to the airport) and it does fuck i can see why it's your fave

2. i do not know this song

3. A BOP A WHOLE FUCKIN BOP

4. oh i do love repeating days great choice i would have to hear it a few more times to get it in my head but i remember really liking it when i listened to the album it's on

5. also a banger and i'm glad my concert tickets situation made you laugh it made me laugh too imagine being this useless gldskfjgs

6. DARK SIDE FUUUUUUUUUUUUUUCKS GIVE IN TO YOUR DARK SIDE YOUR DARK SIDE IIIIIIIII SEE THE WAY YOU LOOK AT MEEEEE

7. ANOTHER FUCKING BANGER this one is probably among my favorite r5 songs maybe top 5 LOVE ME LEAVE ME LEFT ME NUMB (guitar moment) DID YOU HAVE YOUR FUUUuuuuUUUUUNNNNN i feel the same way about this lyric as you

8. oh shit thats pretty cool i dont know this song tbh i cant remember how it goes i know ive heard it once or twice but. id have to listen to it again so i will keep you posted on that

9. i do not know this one either

10. interesting choice for top ten but i support you, this song fucks and ever since you mentioned it it's been in my subconscious and randomly getting stuck in my head i think i need to listen to it to get it out. it does hit ur right

11. i don't know hurts good or wild hearts or things are looking up or i can't say i'm in love or trading time well enough to say anything about them. but i really like fallin for you it's one of those cheap fun songs but emphasis on fun, and also really like do it again one day ill write a fic based on that song

i have not listened to cool girl i put it on my to listen playlist so hopefully i remember to listen to it soon ill be honest though i dont think im prepared for ross lynch saying motherfucker w his whole chest like i think itll take me out. so. anyway. i hope you got your assignments done. thank you for the r5 lovedump feel free to drop in anytime with more

#this is a love-positive zone #we love love #here on clumsyclifford we support insane obsessions because we also have insane obsessions #ask #cubs anon #anonymous #lol i was telling my dad that i talked to rian and zack but said the most generic things ever #and i was like. i mean there were things that i would have wanted to ask but if i had then they would have known that--#-- im like super obsessed with them in a kind of creepy way. like i wanted to ask rian what time alex was born #...so we can figure out his rising sign so we can make his star chart #and my dad was like . why would you need that #and i said. you know for funsies #he was like do you think he would even know that #and i said well in our collective opinions we think alex wouldnt know what time he was born but rian and/or jack probably would #and my dad was like its a good thing you didnt ask him that. it would have been creepy.#and i was like I KNOW THATS WHY I DIDNT ASK BECAUSE I KNEW IT WOULD HAVE BEEN CREEPY BRO #so anyway #i dont remember why i started telling this story #its 1am im so tired ive had the longest two days ever #i need sleep im going to die #i cant believe classes in two days #end me

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