#i cannot get over the love i have in my heart for lil nas x & janelle monae | Explore Tumblr Posts and Blogs

nightowlwriting · 3 years

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summary: steve is acting weird. avoiding you, being snippy and mean, leaving the room when you enter. all you want is your boyfriend back, but all he wants is to pretend you don't exist. when he's almost hurt on a mission, you do what you're made to do.

word count: 11k

reader specifics: no race/gender/sexuality/body type mentioned, no pronouns for reader used, powered!reader, insecure!reader

warnings: steve is mean to the reader in the beginning, heavy angst, hurt/comfort, canon-level violence, brief ptsd symptoms, slight description of blood, brief mention of racism in the '30s & '40s

brief mentions of: reader's parents being toxic, homelessness, past accidents, ableism in the past & present

note: this one hurt me lmfao. idk why this went the way it did but i'm not mad at it // also i am a queer, trans, disabled american. i have fundamental disagreements with things that marvel/the mcu as it stands for and some of the more nuanced things that you might not notice unless you're looking for it. this will take place in my writing because i cannot separate myself from the lens in which i consume/create content.

title credit: lil nas x

mobile masterlist - request - support my work? - ao3

Falling in love with Steve Rogers went against every instinct you had. You knew that he was going to hurt you from the first moment your lips touched his. Sure - he’s clever, righteous, courteous… You can’t forget he’s also drop-dead gorgeous because every trashy gossip magazine in a three-state radius of New York doesn’t let you forget. Neither does the sight of him waking up in your bed every morning. (Well, actually, maybe that would remind you if he was still fucking doing that.)

But lately, you’ve had to rely on the fucking tabloids to catch a glimpse of your super-hero boyfriend. The university class you had picked up on a whim at the end of the summer - Life & Times of the ‘30s and ‘40s - avoids any mention of Steve Rogers and the Howling Commandos. Not that your classmates do because, Christ on a bike, those magazines manage to catch pictures of you and Steve in moments that you don’t even remember. Plus, you’re an Avenger too. It’s bound to catch some attention when you waltz into a college classroom.

You’re sure if you were an undergrad trying to fill a gen-ed requirement and were sitting next to someone who could kill you without blinking but also dating Captain Rogers you’d be a little distracted too. You try not to blame your classmates too much, but they do make it hard to concentrate with their -really dating Captain America?- and -wonder if I could get an autograph- whispers. None of that matters because you’re learning, really studying, in between missions and missing Steve and believing that maybe the gossip reporters are right.

Maybe he’s forgotten about you.

You grit your teeth and push the thought away. It does you no good right now, while you’re training with Peter. He’s working his way up to bona fide missions and, because you’re the only one on the team who has experience with real-life teenagers outside of saving their lives, it’s up to you to get him to the level that he needs to be. Plus, the mission where he’s going to get his gills wet is just you, Tony, Steve, Nat, and Bucky. You’d much rather be the one to train him because you won’t traumatize him.

Right now, though, you’re just kicking his ass to try and get rid of some of the tension in your body. You feel a little bad about it, but when you started as his mentor you told him point-blank that you’d never go easy on him. That meant if you were having a bad day he either needed to up his game or he’d have a bad day too. It appears he’s taken that to heart as he struggles to dodge the hits you’re throwing his way. He lunges out of the way when you try to land a right hook but practically walks into the leg sweep that sends him crashing to the ground.

“Awe,” Peter groans, letting his guard down. You take the momentary lapse of focus to grab him by the collar of the hoodie he’s wearing and haul him to his feet, jerking one fist back to cold-clock him but he beats you to it. You hear the sound of your nose cracking before you feel it but then the pain rushes you all at once. You’ve had worse but coming from Peter, the move surprises you. You don’t yell out but he does when you push him away from you and call the fight off. Peter practically yelps your name, hands up by his head as he watches you bend at the waist, both hands over where your nose is absolutely gushing blood. “I am so sorry, I just reacted-!”

“It’s fine, Pete,” You shake your head and stand straight again, the blood beginning to leak through your fingers, “Just go get me a towel, okay?” Peter practically trips over his feet to get something for your nose and as you track him on his way into the locker rooms, you see Steve, Bucky, and Nat. The latter are looking your way, eyebrows raised like they’re asking you if you’re okay. Steve hasn’t even broken stride in his conversation so you wave them off with a bloody hand. Peter’s back in a flash, pressing a wet towel into your grasp and snapping you out of your self-pity party. “It was a good hit,” You compliment as you wipe your face off, “I just wasn’t expecting it. Prob’ly wouldn't have landed it if I had.”

He wrings his hands, shifting from foot to foot. “I’m sorry-”

“It’s a good thing, Peter, means you’re getting better.” You deadpan, checking to see if your nose has stopped bleeding yet, “I don’t think you actually broke it, but I’ll go down to medical to check later.” You do your best to clean up your hands with the wet towel, but it’s so soaked with your blood that it mostly just smears it around. You grimace and shake your head. “Well, I should go now before our sparring match ends up looking like I murdered you.”

“I’ll go with,” He offers, “I’m the one who broke your nose.” You let Peter walk you down to medical even though you were originally going to refuse. Perhaps petty, but it was the way that Steve didn’t even look your way as you left that made you let the teenager walk you the two floors to where you’d be able to clean yourself up. He hums in the elevator and you know that he wants to ask you something - it’s the way he holds his mouth when he’s prying for information or keeping a secret that tips you off. Finally, just before the elevator opens, you sigh and turn to him.

“What, Peter?” He grins but then it falls when he has to skitter after you down the hall. Maybe that’s why it falls - the question he asks next nearly sends you to your ass.

“Is everything okay with you and Captain Rogers?” He easily catches up to you when you stop in your tracks, ignoring that you’re still bleeding a little bit down your face and you might be dripping blood everywhere from where it’s run down your arms.

“What?” You do your best to look confused like everything is fine, but Peter is perceptive. He may fumble around and be pretty awkward, but those are really just teenager things that he’ll hopefully outgrow. You should have known that when someone caught onto how bad things are on your end, it would be Peter. (You wonder if Nat or Bucky has brought it up with Steve, considering he’s spent more time with them in the past week than he’s seen you in the past month.) “We’re fine.” Your words are stilted as you begin walking to the medical wing much faster than before.

“I just thought I’d ask, well, because I’ve sort of noticed… Something just seems off, you know? Like, you two used to spend a lot of time together, and maybe it’s the recon mission coming up, but I was just thinking that you two really barely look at each other even when you’re in the same -”

“Peter!” You say his name much louder than either of you expected and both of you jump. “Peter,” You say softer, looking at the glass door to the medical wing instead of him, “Just leave it, okay? It’s nothing you have to worry about, kid.” Peter ducks around to open the door, forcing you to look at him. “He’s just focused on his stuff and I’m focused on getting you whipped into shape for this mission. We only have two days.” Once you’re inside and surrounded by the medical crew Tony keeps on staff, he thankfully drops it. You love Peter, you do, but it’s a lot like having a little brother. You can only love them so much before you want to fucking strangle them. Eventually, as the doctor checks to make sure he hasn’t broken your nose, you have to order him away to go study or something. “I’ll join you later,” You promise him as the doctor prods at your tender flesh, “I have an essay due soon.”

That’s another thing that’s been bugging you that Peter surely picked up on. Nearly everybody knew you were taking a course at the local community college, but nobody knew what it was about. You’d wanted to keep it a secret until you told Steve, but the day you had registered he’d flown out for a two-week mission without telling you or saying goodbye. After that, you decided it didn’t really matter if anyone knew what class you were taking, and keeping it a secret sort of spiraled from there. If they wanted to know they could look it up. Maybe it was petty, but you just wanted the class to be over and done with so you could forget that you really only picked it up so you relate to your boyfriend more.

If you can even call Steve your boyfriend anymore. You’re not so sure where you stand and, honestly, you’re really close to giving up on the relationship as a whole but you can’t do that. Before you were dating, you were friends, and Steve… He never gave up on you. Not once. How could you repay him by giving up on your relationship? The one that you thought was The One? Even if it hurts, even if you’re unsure more than sure these days, how could you? Somewhere, though, you know you deserve better. You don’t deserve the sinking, dark feeling that lingers in your gut for most of your days now or the way that you second-guess every move you make - even in the field. It’s dangerous but you can’t do anything to fix it.

You’re too scared. You know that eventually, it will happen, he’ll break up with you, but you’d like to put that day off for as long as possible. To relish in the love he once had for you, how pure and powerful it was. You’re sure that you’ll never experience anything like that again.

Hell, you might never fall in love again.

Those thoughts don’t do anything to help you, though, so you try not to have them. You get clearance from the doctor and get cleaned up as much as you can without taking a full body shower. The idea to go back to your room and take one crosses your mind but you know that Steve’s probably done training, probably heading back for his own shower, and you don’t want to open that can of worms. Instead, you go to the common room and drop into the couch between Peter and Tony. They’re talking about something something science something something, but you pull your stack of books and notebooks out from the shelf underneath the coffee table and continue outlining your essay from where you left off. The assignment was focused on how the end of WW1 changed American life and then how life changed leading up to and during WW2 but that had hit a little too close to home for you, so you’re writing about the racial tension and overall racism of the times. Tony and Peter keep talking over your back and then you hear footsteps heading toward the common room.

You barely look up when they enter - Nat and Bucky - because it’s fine. It’s normal. They’re just two of Steve’s best friends, that’s all, nothing to be jumpy about. You don’t even register that emotional pain that hits when you realize that, yeah, you’re not one of his best friends anymore. You doubt you’re even considered a friend in his book.

You groan and lean back into the couch, bringing your study materials with you. Peter glances over, skimming over your page and a half of shorthand, and gags. “Jesus, can you write like a normal person?”

“Oh, sorry,” You say lazily, not looking up as you continue to scribble in your incomprehensible code, “I do forget that some of us had privacy at home.” You lift your lips just a little bit to let Peter know you’re kidding, looking up at him through your lashes as you slouch next to him. He looks red in the face. “Besides, once you have to start doing mission reports you’ll be begging me to learn my shorthand and use my stenography machine.”

“I keep telling you that I can update that ol’ thing,” Tony draws your attention. For the first time, you realize that Nat and Bucky are on the loveseat looking at you expectantly. Steve is standing in the corner over their shoulder reading a book from the bookshelf in front of him. His back is tense and he looks like he’s not reading, just listening. You force your eyes back to Tony on your right and shake your head.

“No, because then you’d know my shorthand and it makes me too happy to see you spend hours trying to decipher it.” His eyes wander to your essay again, trying to find any patterns that he can use to figure out what the hell you’re writing on anything ever. He’s opening his mouth to make a smart-ass remark that will no doubt lift some of the weight off of your shoulders when another voice speaks up.

“Wow,” Steve doesn’t even look at you even as he says your name sardonically, “Way to be a team player.” Your mind comes to a screeching halt, trying to figure out what the fuck he’s playing at. Even Bucky and Nat look surprised at the cold way he spoke to you, Tony and Peter both gasping from your side. You can’t say anything, throat tight and burning with tears as you stare at your boyfriend with raised eyebrows. What do you say to that? How do you respond? You know it wasn’t a joke because he’s not laughing, not smiling, not even looking up from that fucking book in his hands. You can’t tell if you’re more hurt or embarrassed, but either way, you don’t want to stick around for someone to get the nerve to say something.

Instead of replying, you slam your textbooks shut and bundle everything into your arms. You doubt Steve even notices that you’re making such a hasty retreat but if he does, he doesn’t say a fucking thing. You feel like you’re in high school - practically running through an empty hallway with your notebooks and textbooks pressed to your chest, trying not to cry. It’s ridiculous. You’re a trained assassin, you’re an Avenger, you are strong and powerful and yet… And yet. You’ve given so much of your heart and soul to Steve Rogers that he can knock you down eight pegs without even trying. Without even looking at you. You can’t wait to go on this fucking recon mission, where you can put all of your focus on making sure Peter is doing okay and gathering the intel. Where you can stop thinking about how easily Steve Rogers seems to be pushing you to the side.

You spend the next two days writing your essay, ignoring almost everyone, and working on your essay. On the day of the recon mission, you’re running out the door for your eight a.m lecture, printed essay in hand, and reminding Tony that he promised to pick you up on campus after class for the mission.

You’re lucky that you went, too. You hadn’t counted on the professor making everyone stand up and tell the class the subject of their essays - didn’t realize that it would be twenty-five percent of the grade on the paper. You’ll never understand college professors and the weird shit they do, but the class is informative and entertaining. He goes around the room, starting on the opposite side of you, so you’ll be last. Great.

Several students did their papers on the propaganda of the time, one student was brave and did her essay on the ethical dilemma of the super-soldier serum and eugenics, and most of the other students focused on pop culture and how it changed. When your professor looks at you it’s almost like he’s expecting you to have done nothing but fawn over Steve and Bucky, considering you know them personally. He looks surprised when you clear your throat, stand and say: “I focused on the casual and institutional racism that faced non-white Americans at the time.” You almost preen when he looks impressed and then the shame fills you. It’s just… You want Steve to be proud of you. You want him to congratulate you on going back to school, even if it’s just for one class. You want him to be happy and surprised that he was the inspiration for taking the class.

Though, lately, the class has been more for you than for him. You like learning new things, pushing the boundaries of assignments, making people uncomfortable with the truth of the times you’re studying as told to you by two people who lived it. It’s nice. Normal.

Everyone needs a little bit of normal.

But, honestly, normal is fucking boring. By the time your class is over and you’re handing in your essay it’s like ants are crawling over your skin. A combination of nerves from the upcoming mission, a head full of fog from whatever is happening with Steve, and a little bit of fear at the thought of taking Peter into the field has you bolting for the door the moment your essay is taken from you. You’d worn your tac-suit underneath a pair of baggy sweats and a loose hoodie, so you don’t even bother slowing down as you head toward the car that Tony has waiting for you. He’s in the front seat, grinning at you from underneath his aviators and Peter is driving.

You slip into the backseat without thinking or looking at who’s there, tossing your bag in the back and peeling your hoodie off. “God, Tone, we’re goin’ to die before we even get to the mission with Petey driving.” You toss your hoodie back to join your bag and finally see who’s sitting next to you.

Of course, it’s Steve. He’s looking at you - but not really. He’s looking through you, like he can’t stand that you’re both crammed in the backseat of Tony’s electric car. His gaze catches you and holds you in place. Everything around you goes cold and fuzzy, making you miss Peter’s indignant complaining that he has his license so he should be able to drive… And then Steve scoffs and looks out his window, ignoring you. It stings but you have a job to do. You make some witty retort back to Peter, but it falls flat as you struggle out of your sweats. This is what life is, you think. Relationships aren’t meant to be forever - you learned that at a young age.

Until your accident at fifteen, you had watched your parents run out of helium, their relationship expanding and cooling in arguments, in days spent not talking, in trips to your grandparents without the other, in passive-aggressive computer searches for divorce attorneys left open for anyone to see. Then, after you were trapped between those machines - after you spent hour after agonizing hour with electricity pressing between your atoms, being torn apart and rebuilt as a young god - after that day you watched them expand against each other before the neutron core of their relationship collapsed on itself and the resulting supernova sent you to the streets. But then Fury found you. Then Tony, then Nat, then Steve.

Your parents exploded out from each other and the shockwaves ruined your life. At least now, your relationship with Steve is ending silently. There’s no explosion, no collapse, no rapid expansion to take over your cosmos. Your relationship with Steve is simply approaching the event horizon, where it will hang in the air until one of you takes the final step and you both become frozen, two collapsing objects on opposite sides of the universe. Maybe that’s what you already are. You feel so far away from him in the back of Tony’s car - like he’s eons and light-years away from you - and you feel so cold. Frozen, down to the bone. It makes you stiff in your replies to Tony and Peter, slow on the uptake when the car pulls up to the quinjet, nearing stasis and unable to respond when Nat asks if you’re okay.

Finally, you turn to look at her, nodding. “Fine,” You clear your throat, “Been a rough day.” You do your best to smile at her, but your face feels heavy. Your chest feels cold and tight, making you worry about your performance on the upcoming mission. When Peter shakes his head next to you, discreetly telling Nat not to press, you’re focused on Steve and the electricity humming in the most base part of your body.

He scoffs and rolls his eyes. You turn away and force yourself to smile, throwing a weak and numb arm over Peter’s shoulders. “Are you ready for this, Pete?” You jostle him back and forth, leading him toward the sitting area behind the cockpit. “Gonna get your ass kicked?”

“Please,” He shoves you off, nervously laughing, “Not with the skills you’ve taught me.” He mimics throwing webs, making hissing noises under his breath, and you bark out a laugh, shaking your head.

“You’re payin’ my medical bills when I have to save your ass, Spidey.” You shake your head and strap in next to the wall, Peter taking the seat to your right. Tony, from the aisle across from you, points a thick finger your way.

“You don’t pay medical bills anymore,” He waggles his finger, “So you’ll just have to make him do your homework for a week.”

“Mister Stark!”

“He’ll have to earn shorthand to do your essays,” Nat chimes in from between Bucky and Steve, who are both doing their best to not look at you - or anyone really. “You willing to share that with him?”

You lean back in your seat and jab at Peter with your elbow. “Hell no, so I guess Spider-Boy better do his best.” The arachnid in question grumbles, crossing his arms and slouching in his seat.

“No pressure, right?” He complains, “Not like I’m already nervous or anything.”

“You’ll do fine, kid,” Bucky pipes up, drawing your eyes back to Steve, “It’s goin’ to be a cakewalk.”

“Don’t jinx it, Barnes,” You warn half-heartedly, tucking in on yourself, “We need this to be easy.” From the look on his face - everyone’s face, really - you know that they heard you loud and clear when you were really saying I need this to be easy.

After an uneasy laugh from Bucky, a claustrophobic silence settles over you all as the jet begins to take off. You’re in for an hour ride and plan to spend it going over battle plans with Peter when harsh whispering catches your ear. It’s Bucky and Steve nearly crushing Nat between them until she gets up and sits across from Peter, rolling her eyes. Still, you try your best to run him through the actions you both had planned - the names, the setups you needed to execute them, everything. If something happens to Peter, you’ll never forgive yourself.

And then, cutting through your soft promptings to Peter and his equally soft replies, Bucky’s voice. “Leave it, Steve. Until after this mission.” Even Tony looks up from his tablet, curiosity piqued. Their faces are both red, set hard and angry at each other and your stomach drops. What the hell is going on that Steve ‘Till The End Of The Line Rogers is fighting with Bucky You And Me, Pal Barnes? You must shift, or lean too far into Steve’s eyesight, because for the first time in what feels like years he is looking directly at you - and seeing you, too. It makes your pulse jump and, almost instinctively, you want to reach out and ground yourself on the rubber of the seat underneath you.

You don’t get the chance, though, because Steve speaks. “No, why should I? This is clearly affecting the team.” He’s still looking - glaring - at you like you’ve done something wrong. “What’s the point of waiting? I’ve been waiting to talk about this.”

“Bo, I don’t think this is the time,” Bucky looks over his shoulder at you, then, and you know what’s coming. You know that it’s time, that Steve is about to break up with you in front of your teammates. Your friends. Your family. You steel yourself for the anguish you’re about to feel and then jerk your chin out, hardening your resolve.

“Buck, it’s fine. If Steve wants to address something, he can.”

Natasha says your name, a low warning over the hum of the quinjet. “I think he should wait.”

“Well, I’m not goin’ to wait!” Steve unbuckles himself and stands, “I have tried waiting, and look at where that has gotten me.” He puts his hands on his hips and puffs out a breath. You unbuckle and stand, too, unsure of where this is going. “You need to,” He holds one hand out, pointing at you while his voice shakes. You notice his hand is shaking, too, but fractionally. If you didn’t know Steve as well as you do you may have never noticed it. “You need to get it together.”

“I need to get it together?” You question, eyebrows nearly hitting the ceiling with how fast they shoot up. You’re not totally sure you’ve heard him right because what do you have to get together? The broken shards of your relationship? The information and research for your final paper? The awful way you’ve let yourself be treated for what seems like forever?

“You heard me,” Steve says, at the same time Bucky leans his head back and groans deep in his chest. “What? Someone had to say it.”

“We should wait for this,” Nat speaks up again, but lifelessly. She knows now that you and Steve are both on the warpath, neither of you are going to stop. (That’s also why the two of you work together as a couple so well. Very rarely are you both so worked up about something that you can’t back down, so the other is always there to meet you halfway and get you back to earth.)

“No, no, no,” You say, near hysterically, “No, he wants to do this now? Before a mission? Instead of the fuckin’ weeks we had to hash whatever crawled up his ass and died out? Be my guest. He’s already dragged everyone into this by treating me like a pariah.” You’re not sneering, but your teeth are gritted so tightly together you can hear them scraping and feel a tension headache beginning to bloom in your temples. Bucky looks… Almost incredulous at your statement. Like putting the blame on Steve is a dick move or something.

“Oh, so I’m the bad guy here?” Steve is curling his lip, glaring at you. There’s something behind his eyes, but he’s buried it so deep that you can’t reach it and figure out what it is. “I’m the bad guy, right. Right, right, right.” He scoffs, shakes his head, and then he’s running his fingers through his hair like he really can’t believe what you’re saying to him.

“Well, what else am I supposed to think?” You throw your hands out to the side and let them slap back down on your thighs. “You ignore me, you make me feel like shit, you talk down to me like I’m some insignificant foot soldier. How else am I supposed to take that, Steve?”

“Oh, I don’t know, maybe ask me what’s wrong? Maybe ask me why I’m acting like this, instead of ignoring all of your problems like a child?” He mirrors your moments, but the sound his hands make when they hit the outside of his suit is more powerful than yours. Fueled by anger, you think. Anger and whatever the hell was in the serum Erskine pumped into Steve.

“Ask you?” You repeat, near-hysterical, “Ask you? Oh yeah, let me get right on that. Hey, Mister Rogers? Mister Captain America? Mister Ignores-His-Partner-For-God-Knows-Why? Hey, just why are you doin’ that?” You’re surprised that you’ve said something so snotty, but you don’t back down. (Steve looks surprised, too, and Bucky has stood up next to his friend like he’s about to start berating you as well. At least he looks more cautious about it, like he’s not totally sure that this fight should be happening.)

The more surprising part of your fight is how fast it’s shut down. Tony and Nat stand at the same time and exchange a glance like they’ve surprised each other. “That’s enough,” Tony starts.

Nat cuts him off. “I don’t care if you fight this one out instead of talking, but if you do it before this recon mission you two are going to blow it. Do you understand me?” She looks dangerous, the sharp edge of a knife spiraling through the air. You force yourself to look away from her, from Tony, from Bucky, from Steve. She’s right. You know she’s right - especially on this mission. Peter is there, going to be in real danger even though there’s not supposed to be one Hydra agent in a four-mile radius. You have to clear your mind and focus on protecting him.

Steve seems to think the same thing because he stands down. When you watch him collapse in on himself, Bucky’s arms around his shoulders, into the little quinjet seats your everything aches. Heart, lungs, eyes - everything. Even though you don’t know what’s going on, what could have possibly happened to make your relationship sink this quickly and out of the blue, you still love him. He’s still The One for you. You still want to be the one to comfort him and make him feel whole when he’s struggling.

But you can’t. You can’t and it kills you.

The heat of battle makes a lot of things fade into the background. Important things like why the fuck are there Hydra agents here? and Steve is going to break up with you when you get back on the jet and Tony swore on the fucking limited edition AC/DC vintage tour poster he has in his office that this would be an easy in/easy out information mission. None of that matters, though, because you’re in deep shit. There are seventeen of them, all primed to the teeth with weapons made to take your team down permanently.

You’re practically glued to Peter, calling out commands and plans for him to initiate. It’s when all of your plans fall through that you take a hit from a heavy fist on purpose, hitting the ground hard. “Plan F, Spidey, Plan F!” You cover the instruction with a groan and then you’re back on your feet, working your way toward him.

“Plan F?” Tony says, somewhere above you in his suit. Your comms crackle ominously as another heat-seeking grenade is launched, interfering with the radio waves your tech relies on. You don’t worry about it, because you know Tony is on it. He’s your eyes in the sky.

Peter is the one who answers his question, watching your close hand-to-hand tilt out of your favor briefly. “Plan Fuck It, Mister Stark.” He grunts as he webs up a Hydra agent, jerking him away from where he was about to slip a knife up and under Natasha’s kevlar. You finally drop the guy in front of you, ignoring Steve’s disappointed Language! and toss one of your knives toward Nat for her to use. Tony is still laughing in your ear, wheezing as he drops down and snags the rifle from one of the snipers and then takes back off.

What your little protégé failed to mention about Plan F is that it’s not just chaos, but controlled chaos. You let loose, letting a soft current cover every inch of your skin as Peter switches to his conductive webbing and takes special care to not web any of his allies. Except for you - if you’re in the way and he catches you in a web it doesn’t matter because you’re you, alive with electricity that drops the men that get caught in the web, too. You rip out of the webs and turn the current off when one of your teammates gets too close.

More Hydra agents are pouring out of the woods, topping out their numbers around twenty-five. That’s twenty-five too many in your opinion, especially when you can see Peter getting tired, his anxiety spiking, his moves having more and more hesitation behind them. You need to get this over with quickly, but you don’t have the options to do that. Steve, Bucky, and Nat are really the heavy-hitters - you, Pete, and Tony are the only ones without serums despite all of your individual abilities. Desperately you reach out for a web that’s still connected to Peter’s arms, pulling him out of the way of a baton that’s about to come down on the back of his neck.

The baton the agent is wielding glints in the coming dusk, freezing you as Peter scrambles past you with a quick apology. You’ve seen that before - seen it, felt it, know it like the back of your hand. There’s no way that you could ever forget that weapon. The man stumbles when his hit doesn’t connect but then rights himself and searches for a new target.

A long, black baton that splits into two prongs at the end is heavy in his hand. Electricity crackles between the bulbs at the end, flashing in the setting sun and your memories. The man only has one, but if it was hooked up to a machine, spinning. If there were four, five, six. If you were pinned between them, screaming in the pain as they rewrote your DNA… You’ve only felt it once, but you’ll never forget it.

And now, you’ll taste it again. On purpose this time. The man holding the stun baton is going for Steve’s back - his strong back, the one that protects people, the one that holds the weight of the world, the one that lays in your bed, the one you see whipping out of rooms as you’re entering just so that he doesn’t have to look at you - and you can’t let that happen. It only takes ten amps to kill a regular human, but you know those things are cranked up to twenty minimum. You don’t want to see how many amps of current it will take to stop Steve’s heart. You’re between the baton and Steve before you can think about what you’re doing or what comes next, the hard bulbs settling unyielding into your side and cranking out maximum power for maximum damage as soon as the current is connected and able to flow from one bulb to the other.

The pain hits you and your throat catches on it. It burns through your body, setting everything on fire - your chest hurts as your heart protests the electrons and then your powers kick in, sweeping them into your very atoms and cells. You’re a live wire now, ears humming and body thrumming with power you’ve only dreamed of. It hurts, and it burns, and you feel tears rising in your eyes because you’re back there - back begging for death or for life or for God and god at the same time - but then it’s over. The man sees that you’re not seizing up, not dropping dead in front of him, and he takes three steps back.

It’s not far enough.

You’ve only felt like this once before - right after you were unhooked from the machine that changed your life and brought you to your new family. You remember how you looked when you were put in front of a mirror with all of the pent up electricity circling your body - how your eyes were filled to the brim and dripping with bright and blue electricity, the way it was jumping across your body, how you didn’t need to breathe because your body was fully saturated with pure, unadulterated power. You wonder if you look like that now and assume you do because you can see the bright blue reflecting in the terrified eyes of the Hydra agent.

Your suit, unlike everyone else’s, is not grounded. It’s metal, metal, metal. You’re made to conduct, born for it, and the earth beneath you comes alive with bright white as you release all of the energy, the power, surges down and out. You’re practiced. You can reach out and feel the synapses and neurons of every human being in the clearing, know exactly where your teammates are standing, and know exactly how to target everything but them and the pitiful amount of electricity their brains carry. You grin, something truly feral and unhinged, and you can see the fear in the Hydra agent. Then, you let go.

You know that everyone is going to be pissed. (Maybe not everyone.) You’re not built for this, not made to take down nearly twenty fucking people at once. As you let go, you feel what they feel. The seizing muscles, the stopping of their hearts, the inside of their bodies crisping against their bones. At that moment, that delicious moment, you see the universe.

You become God. You become everything - your mother and your father and God and god and anyone else who’s watching your life from the ether. You become the judge, jury, and executioner of souls that you don’t know from Adam. You become lightning, and thunder, and exposed nerves of the cosmos at the same time. The world bends to your will and you relish in it, taking that power in your fist and wielding it to protect the man you’ll love for the rest of your life and the family that you’ve made. You will stop at nothing to end this, even if it means turning yourself inside out to do it.

You damn near do turn yourself inside out too, but that doesn’t matter, does it? The blood spilling from your ears, nose, and eyes feels like heaven. It’s hot, and thick, and it’s proof of the power that your body holds. You’re a temple and a sanctuary, a war-room and a bunker, a field of flowers and a sun-dry desert. It does not matter if Steve doesn’t love you at that moment, because you are love and hate wrapped into one package. You are everything and nothing, spread thin at the beginning and the end of time.

And then none of that is true. You are just… You. Standing in a clearing, surrounded by twenty-something dead Hydra agents and your terrified, terrified family. It hurts to breathe and you can taste blood in your mouth, but that’s an afterthought. Steve is still standing behind you, but he is alive. That is what matters.

This is what love is, you think.

Pain and pleasure.

Even if he leaves you, you will always love him.

Pain and pleasure.

You’re weak at the knees when he finally turns to see you - and you’re a sight. Struggling to stand, fingertips blackened with soot but not burnt, blood pouring from your nose, ears, eyes… You look like death, but you feel like life. Someone says something behind you - Peter, maybe? Or maybe Tony, in your comms? - but you don’t hear it. Everything tunnels out, your weak knees finally collapsing as you keel backward.

Steve bears down upon you almost immediately. You’re halfway to unconsciousness when he wraps you up in his arms, keeping you from falling in with the pile of bodies around you. He’s saying your name, harsh and soft and then in a voice like he’s ordering you to wake up. You loll about as he drops you down onto a patch of clear grass, hands searching your body for wounds. When he skims over your side, where the baton has burnt through your suit and your flesh, you surge back toward being able to have cohesive thoughts. The pain brings you back, hands wrapping around Steve’s arm and calling out his name. “Steve! Fuck, that hurts!”

“Honey,” He breathes, “Fuck, we have to get you back to the jet.” His jaw ticks, hair dirty and loose from its normal style. “Why’d you do that?” Steve doesn’t wait for an answer from you, ordering Peter to web something up to carry you over your protests.

“I’m fine,” You argue, only slurring slightly, “I feel fine.” But you’re going to let Nat and Bucky load you up on the webbed stretcher anyway because it’s the first time Steve has cared for you in a long time. You want to relish in this moment, the way that he didn't say your name but called you honey.

Well, and because Natasha slides a thumb across her neck over Steve’s shoulder in a silent threat.

You groan when Bucky accidentally grabs your calf where there is an absolutely awful stab wound, but you wave off his apology. “How could you have known?” To be honest, you hadn’t even known it was there until his Vibranium hand was slipping against it and sending shockwaves of pain through you. Peter is next to you the whole time that you’re being carried back to the jet - Tony staying back to begin scanning the bodies of the Hydra agents for the information you need and any other information they may be carrying. The poor kid is nearly at a breakdown, so you reach out to him and shake his arm when his fingers twine with yours. “Chill out, kid, I don’t know how you got it into your head that this is your fault, but it sure isn’t.” He sniffles, but hands back with Steve as Bucky and Nat get you situated in the small medical room of the jet. They transfer you and then make to leave, only Bucky hesitating near the door.

“Stevie’s goin’ to be here soon and… I don’t know what made you do what you did but you have’t explain it to him. He’s bendin’ over backwards to figure it out, and we don’t have’a clue. Came out’a nowhere.” He looks at you for another moment before shaking his head and stepping out of the room. Your head is spinning, partially from what Bucky just said and partially from the pain and stimulus of electricity. You wait there, then, because this is it. This is the event horizon. You wait there, eyes closed, until you hear footsteps approach the med room, and then the door slowly opens. Steve says your name, holding all the finality and weight of an atomic bomb. You don’t open your eyes until he swings a chair next to the stretcher and lays a hand on your calf.

“You don’t have to do this,” You finally say, pushing yourself up onto your elbows to watch him. “I know that you don’t want to.” Steve only scoffs and begins to wash the stab wound using a packet of soap and a water bottle. You say his name twice before he looks at you, something between hate and hurt curdling into a glaze over his eyes that stops you in your tracks.

“Just let me do this. It is the least that you can do.” His words are painful and stilted, like it’s taking force to push them past his teeth. You lay back down and close your eyes, content to just feel the pain of Steve beginning to stitch you up and then dress the wound before you feel the pain of Steve leaving you like you knew he always would. (Falling in love with Steve Rogers went against every instinct you had. You knew that he was going to hurt you from the first moment your lips touched his.)

When he’s done he sits back and puts his elbows on his knees, head in his hands. He heaves a heavy sigh and then shakes it off, “I’ll dress your burn, and then we’ll talk.” And normally, yes, you would agree but this is too important. You want to get it over with so you can lick your wounds metaphorically and dress them literally - and then you want to go home, you want to pack your bags, and you want to disappear and remake your life somewhere else.

Some far-off place where everyone you know won’t take one look at your face and know that you’re still painfully, deeply in love with Steve Rogers, end of your semester be damned. Family you’ve made be damned. You can’t sit around and be in love with him like a neon sign on a dark highway while it’s painfully clear that he hasn’t had a sign on his highway in a long time.

So instead of agreeing, you swing your legs over the stretcher and swallow your flinch when the burn pulls tight. Steve opens his mouth to argue but you give him a tight-lipped shake of your head and his jaw snaps shut. “No,” You say, voice not giving in to the emotion swirling in your chest. “I have let this go on long enough.”

It’s the wrong thing to say because Steve fucking scoffs again and looks away from you. “One day was long enough.” He says, cutting straight to your core. Okay, ouch. You take a deep breath and shake your head to try and bite back the tears that are inevitably rising in your eyes. If one day was long enough for him to realize he doesn’t want to be with you, why did he let it go on for nearly a full year? Why did he spend so long leading you on, pulling you by a thread before garroting your heart with it? What was the point?

“If you want to leave me, just say that,” You reply harshly, standing and wobbling away from him. He just watches you go, watches the way you struggle past the lead weights your muscles have become, the way you’re starting to feel the stab wound on your leg, the way the skin on your burn is beginning to blister and only just now losing its heat. He just watches you, where the Steve that loved you once upon a time might have helped. You turn your back on him, hands on your hips so that you can hide the way that you’re crying and your hands are shaking.

“If I want to leave you? If?” He says. You hear the scrape of his chair as he stands, “I think after what you’ve done, it’s not an if, sweetheart.” The way he says it tastes like iron. Steve never calls you sweetheart like he never calls you by your name. It’s always honey, lover, dovie. You don’t turn to face him because you’re struggling to keep yourself above water. “I spent so long thinkin’, wonderin’, askin’ myself - God damnit, will you look at me?” You turn slowly, not because you’ve never heard Steve speak like that but because his voice is desperate and raw. When you turn, you’re not sure what to expect. Maybe him, standing in front of you, broad-shouldered and disappointed like in those PSA’s he had to film once. Maybe he’d be angry, hands clenched at his sides and eyes narrowed like he gets in meetings when he doesn’t agree with something but he’s out-voted. But you never expect to see him crying, lip wobbling, folded in on himself like a young boy instead of the strong, invincible man you’ve come to love.

He looks so different.

It hits you, then, that you’re not looking at Steve Rogers. Not really. He's not Steve Rogers, not Captain America, not even Captain Rogers. You see him as he was - before America spat it’s untruths all over him and injected him with a serum that changed who he was, is, will be. He’s not the able-bodied man that you know, not strong and unreachable, not the heartthrob that overshadows the team during press events. He’s not America’s Darling, not really. Not where it counts.

You’re looking at Stevie Rogers. Stevie Rogers who, for all intents and purposes, was supposed to die before he made it out of toddlerhood or soon thereafter. Stevie Rogers who the doctors said wasn’t supposed to survive. Stevie Rogers who grew up sickly, rattling painful breaths and never playing ball with the neighborhood boys. Who couldn’t walk until middle school when he got his braces off. Who never had a partner because Bucky, strong and handsome and tall Bucky, was always deemed the better option. Who believed in his country so much that he tried to sneak into the second world war, subjected himself to a painful medical procedure so that he could change his very DNA to be what the world wanted him to be.

Captain Steve Rogers. Captain America. Strong, blond, patriotic, resilient.

You’re sure that if men don’t want to go to therapy now, in the modern age, they certainly didn’t want to go in the ‘40s. So where did that leave Steve, your Steve, standing in front of you and looking small, and broken, and sad, and alone? Did they expect him to take his new, taller, working body and run with it? Did they not think about how he would lose a part of himself in the process? How did they expect him to go from disabled to abled without some disconnect?

You think about the You That You Were Before and the You That You Are Now, and how you lost a part of yourself when the accident gave you your powers and how you’d lose yourself if someone figured out a way to take them away. You Before formed your identity around being normal - living in a shitty home with shitty parents, sure, but normal - and You Now form your identity around your powers, your team, your job, your love. If you lost those things, what did you have left? Who would you be?

When Steve lost his identity and became everything that America wanted everyone to think that America was, what did he have left? Sure, he could tell himself that he represents America - strong and patriotic and just - but it must have conflicted with everything he knew about himself before that. You know that disabled people now know that American society is unjust, unfit for them with abled people not willing to make room to allow them to thrive. You can only imagine what it was really like for Steve in the ‘20s and ‘30s and ‘40s. What he had to do just to survive. (Medical experimentation, you remind yourself. Did they know it wouldn’t kill him? Did they know his body wouldn’t rip itself apart with the new sinewy muscle they were packing on? Did they care? Or was he just a body they saw as broken? A project to fix? To turn him into something more like them and call it patriotism?)

You shake your head at him, still filled with despair, and try to figure out what he’s talking about. “Stevie,” You start, pet name easily replacing what you had been calling him because it’s not fair to shoe-horn him into a body that doesn’t feel like his own. You wonder if he still expects the bone-grinding pain that he used to tell you would happen when it rains. He raises a hand, a strong and family hand, shaking his head.

“I just need to know why I wasn’t enough for you,” Steve looks sad, slouching in on himself like he’s expecting to get his ass handed to him in another alleyway and hope Bucky is there to save him. “I need to know why you wouldn’t just break up with me if you wanted to see other people so badly.” You suck in a shocked breath because, okay, that’s not what you were expecting. Between that and the paradigm shift you’ve had on how Steve must view his identity, body, and self, you’re stunned. Steve continues like he doesn’t even register that you look shocked and pale and now you’re crying because he thinks you’re cheating on him? “And I get it. I get it. You have no idea how much I understand. If I were you, I wouldn’t want me either, okay?”

You cut him off there because what the actual God damn fuck is he talking about? “No, Stevie, I’m not cheating on you.” You shake your head again and this, your statement, lights a fire in him. He still looks like Stevie rather than Steve, but there’s anger there. You imagine that’s what it might have looked like moments before he got himself in trouble back before he was serumed. “I’m not.”

“Oh, yeah?” He challenges, jaw ticking and chin jerking up, “Oh, yeah? You can’t lie to me. I know, okay? The act is up, it’s over, I know, okay? You can stop pretending.”

“Steve, I do not fucking know what you’re talking about but I”m not cheating on you!” You raise your voice, not really angry but more out of necessity. You need to get it out of his head that he is anything less than everything you want - that you could possibly love anyone more than you love him.

“I wanted to clarify something for you,” Steve says like he’s reading an old script from when he was just a beefy, red/white/blue stage prop for the American military, “I am excited to meet with you, but there are some rules. Do not talk about Captain Steve Rogers. I don’t want to hear about him,” As he continues to recite something that has clearly hurt him, you go lax. You know exactly what’s happened - your fists unclench, your jaw drops a little bit, and it feels like someone has gutted you, “I think it is wise to keep work and pleasure separate, and it’s a rule I will enforce heavily. I look forward to seeing you again.” He’s sneering at the end, tears falling down his ruddy cheeks.

“Steve,” You try again, but he cuts you off.

“Am I just work for you?” His voice is shaking more than you thought possible, and so are his hands. You’ve never seen Steve so off-kilter, so thrown, and it breaks your heart that yes, technically, you’re the cause of this. Before this, before this horrible misunderstanding, your relationship with Steve was the paragon of trust so neither of you cared if the other read emails or texts. You remember the email - the email from your fucking college professor - because it had made you so angry that he’d referred to your relationship with Steve as something as simple and base as just pleasure - like you could even put words to the galaxy of a relationship you had with Steve - that you’d gone to the gym to work off some of that irritation. You hadn’t wanted to take it out on anyone accidentally. When you came back from the gym, Steve was gone on that two-week mission that he’d left on without saying goodbye.

Oh, God. You feel sick to your stomach as the paradigm of the way that Steve’s been treating you shifts violently to the left. You have to physically hold yourself up and try to speak past the lump in your throat. Steve looks… Brokenly smug. Like he knows he’s right, but he’d rather gnaw his own legs off than be right.

“No,” You croak, “No, Steve, you’ve got it all wrong.” You want to reach for him, but it feels like the room is closing in on you. You’re second-guessing everything now - especially what you’ve just said. How many people said the exact same thing to him pre-serum because they said something meant for Bucky to him? How many times did he hear that when he was getting a new diagnosis, hoping for the best? How many times had his own mother said it to him when he told her something someone had said, fresh-faced and not yet used to the way that abled people sometimes treated disabled people? You think you might be sick. “That email was from my professor, Steve. I’m not cheating on you, I’d never.” He laughs darkly and sits back down in his chair, head in his hands again. You try to gather the strength to move toward him when you see his shoulders shaking, a telltale sign that he’s crying.

“A professor,” He says with a watery laugh, “Right.”

Finally, you realize that he needs you, needs to know you love him, that you’d do anything for him. You can iron out the kinks later - figure out why he didn’t want to come to talk to you past the original hurt, why he treated you so coldly, why he didn’t trust that you wouldn’t do this to him - but now, you need to show him that you’re here. That you choose him. That you’ll always choose him.

You make your way to him and set a shaking hand on his shoulder. For a brief second you think he’s going to shake you off but then Steve’s hand shoots up and latches onto where your hand is resting, dipping his head to press against your arm. “Stevie, please,” You say, unsure of what you’re asking him to do, “I picked up a class, just one, and it’s… I picked it up for you, it’s about the ‘30s and ‘40s and…” He looks up at you and he looks so broken - face ruddy and wet with tears, lip wobbling, chest heaving as he tries to not sob. His brows are knit and he looks confused, “I just wanted to be able to understand you better. You had to leave so much of yourself at the door when you joined the Avengers, had to leave so much of yourself in the ice… In Erskine’s lab… Stevie, I just wanted you to be able to be you when you’re with me. I wanted to know the you that you were before you became Captain America.” Your voice is shaking, knees knocking together, and honestly? You feel like you might blackout.

“What?” He rasps, “What?”

“He sent that email because too many kids signed up for his class thinking that they’d be able to look at pictures of you and Buck for a semester. Emailed me directly because he knows we’re…” You choke on your words, shaking your head because you’re not even sure there’s a we anymore, “Because he knows I’m on the team. Didn’t want me walking in and making his class about just a few years in the ‘30s and ‘40s rather than the culture of the time.” You don’t know how else to explain it to him, but Steve isn’t saying anything - practically isn’t moving or breathing- so you continue to try and explain what’s really happening as best as you can, “And - and that email made me so angry because he singled me out, didn’t email anyone else about it, and I left to try and work some of that out; I didn’t want to take it out on you, or let it spoil - let it spoil… But when I came back from the gym, you were gone. You were gone for two weeks and I didn’t know why.” You’re crying harder now and pretty sure that within the next sixty seconds you’re going to collapse if you don’t sit down.

Steve shakes his head, still looking like he doesn’t understand. “What?” He says for a third time, “A class? A college class?”

“I just wanted to feel closer to you,” You confess, “Just wanted to understand a fraction of your life without making you do the heavy liftin’ and teachin’ me. Shouldn’t have’t do that,” You’re sobbing, barely biting out your words as you realize that something you’ve done to strengthen your relationship with Steve has destroyed it, “Shouldn’t have to explain a whole different time just to feel loved, Stevie. Should be able to be with someone who understands without you havin’ to explain.” You’re not sure you can say Peggy’s name out loud, and you hope he understands what you’re saying without making you actually say it, “Should’a been able to have love with someone who knew, and I know I’m nothin’ compared to what you should’a had, but I want to be. I want to be in the same ballpark instead’a watchin’ from the stands.” You wipe your face with your free hand and look away from Steve when he stands in front of you. You don’t want to see the look on his face - what he’s thinking about what you’ve said.

He says your name and you glance at him, but his expression stops him in your tracks. Where Steve looked broken and hurt and fuming with anger to hide the anguish, now he looks stricken. You shake your head, “No, no. I didn’t say that to make you feel guilty-”

“You think that I care about whether or not you can understand the ‘40s?” He cuts you off, hands moving to curl around your biceps, “You think that I care whether or not you can relate to a time in history when you weren’t even thought of?”

“Of course I love you. I love you more than anything in this world, but you shouldn’t have to not care, Steve,” You argue, shaking your head, “That’s what I’m trying to say. You should be with someone who understands without explanation. I just wanted to give that to you - didn’t know that this would happen.”

“I should be with someone who loves me,” He argues back, “If you love me, that’s all that matters. My past be damned.”

“But your past is you!” You try to pull away from Steve, but he anchors you there. You’re dizzy from being so close to him after this long, but also because of how many different twists this situation has taken. You can barely keep up with how bad your communication with Steve has become - barely keep up with how you need to fix it, or how to fix it. “Your past is you,” You repeat when you realize that Steve isn’t going to let you go. “And you shouldn’t have to give that up so that someone will love you.”

“But you love me,” He says desperately, ducking his head so that he’s nearly nose to nose with you, “You love me, right?”

“More than anything,” You say, closing your eyes and relishing in the feeling of being so close to Steve, “I love you more than I’ve ever loved anyone. I don’t care about what anyone else thinks, or anyone else. I’ll even stop goin’ to class if you want me to - Steve, I just can’t do this anymore. Can’t do this thing where you don’t talk to me about what’s botherin’ you.” You’re choking up, barely whispering, but you know he hears you. YOu can feel his warm breath on your face, “Nearly fuckin’ killed me.”

“I thought it was goin’ to be easier,” He breathes, nose bumping yours, “When you eventually decided to leave me for him. Thought I was savin’ myself some trouble.” You can practically taste his tears as they fall again, “Buck and Nat tried to tell me that you weren’t - that you wouldn’t - but I just couldn’t believe them.”

When you open your eyes, his are closed. This close to him you can see the soft freckles that are blooming over his eyelids, his soft eyelashes kissing his cheekbones. You can feel him breathing, feel him nearly pressed against you in a way that feels hauntingly nostalgic and terrifyingly fleeting; like you’ll be able to feel his warmth for years to come, but he’s about to disappear. “That’s okay,” You finally whisper, “It’s okay that you didn’t believe them. That you thought what you thought. It’s okay.” He shakes his head against yours, opening his mouth to protest, but you refuse to let him feel guilty about feeling this way - you have plenty of time to sit him down and talk to him candidly about the way he acted because of these feelings, anyway. “If I would have been in your place I’m not sure I would have believed them.”

“I treated you so badly…” He shifts and wraps his arms around you. It’s almost immediate - you relax into his arms and wind yours around his waist, keeping him pulled against you as he presses his face into your neck and you press your cheek against his chest. “So awfully.”

“We’ll talk about that, okay? But later. Right now you just need to know that I love you, Steve. I love you more than I can tell you - more than I can express.” You want to kiss him, but you can’t. Can’t kiss him, you need to wait for him to kiss you, for him to close that gap and show you that he still loves you like you love him. “We’ll have to have a talk, a long and hard conversation about this, Stevie, but for now… For now, I’m just content to be with you, okay? MIssed you so much.”

He sighs, nose pressing against yours again. “Missed you too, dovie. Missed you more than I can even say,” His voice breaks as his lips brush yours. Your relationship is not without its flaws and problems - Steve’s actions when he thought you were cheating on him are proof of that and, well, the fact that you didn’t realize what was happening, why it was happening, or a large part of your boyfriend’s psychological makeup having an impact on your relationship while it went unknown by you… There is a lot of work for the two of you to do, a lot of work to do, a lot of communication to be done… But you’d do it all for Steve, over and over again.

When he presses forward and presses his lips gently to yours, you know that he’ll do it all for you, over and over again, too.

#steve rogers imagine #steve rogers/reader #steve rogers x reader #marvel imagine #mcu imagine

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ahtsumu · 3 years

Text

cOuNtRy BoY i LoVe YoUuU–– miya atsumu.

GENERAL HEADCANONS

☆ y’know that kid everyone hates but all the parents love? that’s miya atsumu for you

he’s such a mama’s boy ugh

she’ll see him with mud all over his jeans and be like “miya atsumu! what’d i tell you ‘bout goin’ muddin’!?” and he’s like “sorry ma! just got too excited”

and what’s she gonna do? nothing. absolutely nothing. she just laughs and shake her head because atsumu’s boyish charm is adorable

osamu hates this !!! they’re always competing for mama miya’s heart LOL

☆ says “mornin’ ma'am how’s your day been so far” to the gas station lady and then roasts the life out of his friends

anyone older than 30 adores atsumu to death and anyone his age thinks he’s the annoying dumb hot guy LMAO

☆ plays quarterback on the football team and he’s damn good at what he does !! he’s taken the team to nationals three times already and he’s hoping to end senior year with a first place trophy

☆ teachers also love him to death bc he’s such a sweet-talker and asking questions as if he actually cares about differential equations and antiderivatives but nooo LOL bby’s just trying to make the GPA cut for travelling

it’s a 2.2

☆ on days without practice he’ll hang out around the school parking lot with the Gang™, leaning against his pick-up truck and blasting music from his car speakers to look “cool”

rlly he’s just wasting his time and even his friends think it’s stupid asf like omg no one is looking. atsumu how r u not embarrassed

☆ drives stick shift and thinks he’s hot shit 😭😭😭 he’s not wrong it is hot tho

☆ plays country trap around the boys

when “old town road” first dropped lil nas x was on repeat for 2 months

atsumu has a playlist of EVERY SINGLE REMIX and he’s like “they’re differENT juSt liSTen!!!”

out of all of the boys he has the WORST taste in country music it’s deadass just lil nas x, florida georgia line, luke combs, and morgan wallen

sometimes he’ll spice it up with a little luke bryan but that’s pushing it 😭

his guilty pleasure is that one farmer song by lil tracy and lil uzi vert

do not trust him with the aux

someone come collect him pls

☆ atsumu’s favourite southern meal undoubtedly has meat in it–– ribs, fried chicken, pulled pork, you name it

but he’s weak for peach cobbler and a side of vanilla ice cream for dessert bc homeboy’s got a massive sweet tooth

☆ he may be helpful in helping out with farmwork but this boy cannot fish to save his life

he has a picture of him holding a MASSIVE trout on his instagram and tinder (which he downloaded illegally for his ego lmfao) but really osamu caught it for dinner one night while camping and atsumu stole it for a 30 second photo

☆ owns camouflage but ironically !

whips it out on days he thinks suna might pull up in camo

why? no one knows. it cracks him up tho LMFAO

☆ atsumu actually dresses quite well–– his style is the typical southern prep:

a pair of jeans/shorts and a crisp button-up paired with double monks

loves a good leather belt

his favourite leather is BROWN leather, thank you very much !

☆ owns cowboy boots and he’s so proud of them

they’re steel-toed and decorated by a simple stitch pattern but it gets all the city folks fawning over him so it’s his most prized possession

HE USES THEM TO IMPRESS CITY FOLK LOL he’s like “howdy” and they’re like 😍🤤😍🤤😍🤤

flirts by asking if they’d like to see his horse i––

☆ like his twin, atsumu is undoubtedly great with animals

dogs love him !! like they’re just naturally attracted to him plus he gets so smiley and happy around them

he was probably a golden retriever in a past life lmfaoo

he’s a phenomenal horse-rider too

he rides the horses out at night bc he just loves the wind in his face,,, like a dog

where he differs from osamu is that he hates the actual work of taking care of an animal lmao

☆ works a summer job at six flags because he loves going on rides for free he’s so cute ugh

DATING HEADCANONS

☆ aside from football atsumu also starts the inarizaki high school slam poetry club, which is, coincidentally, also just the entire football team

listen it’s rlly cute how the slam poetry club was founded ok don’t laugh

after developing a massive crush on you, atsumu realises that he’s got too much of a meathead reputation to stand a chance LOL so he goes out of his way seem more “intellectual”

basically he’s like “i’m gonna venture into poetry bc girls love sensitive guys” and convinces the entire football team to host slam poetry nights in hopes you’ll show up at the shows

he starts leaving little poems in your locker and it’s like rupi kaur shit 😭

“you’re the brightest rose

in this garden

and you

don’t

even

know.

---a.m.”

☆ anyway you don’t even show up to the slam nights (you have ✨taste✨) but you do show up to his games!

☆ and eventually he works up the courage to actually ask you out and ofc you say yes bc he does it in such a cute way ugh

he stops you in the parking lot after a game and goes like “hey, uh, yer in my econ class and all yer comments are always so funny and..” and he’s just word-vomiting and eventually he gets to the point where he’s like “anyway i was wonderin’ if yer free friday night?”

☆ your first date is actually at an empty field near school

you’re just talking and getting to know each other better in the back of his pick-up truck under a bright moon, covered in blankets, each of you cradling a hot mug of cider

it’s kinda chilly but atsumu is literally a furnace

and atsumu just opens up the notes app on his phone and he reads you six poems and they’re all like 4 lines with weird enjambment HAHAHA

“you look.

just like the moon.

---a.m.”

most of his lines are actually plagiarised from popular country songs and you definitely recognise them but he just looks so darn cute awh you can’t rlly call him out rn (but you definitely do later in your relationship)

around two hours into the date he’s like “actually i’m the president of the slam poetry club” and you’re like “oh that’s cool!” (no it’s not omg ur praying he doesn’t start slamming right then and there bc you’ve heard rumours of what horrors the club has produced)

☆ if you like driving be prepared to Not Drive once you start dating atsumu (... or at least drive Less Frequently… unless you cut him a deal of some sort...)

he LOVES picking you up for school and this is the only time he’ll change the music playing in his car !!

he puts on the little playlist he made just for you and it’s got songs like:

cruise by florida georgia line (he literally always runs up to you and randomly sings “baby you a song” 😭)

burnin’ it down by jason aldean

play it again by luke bryan

but your song is “our song” by taylor swift ugh he knows every single line and he’s been dreaming of having a relationship like the one she describes ever since it dropped

ps: he’s actually the world’s biggest swiftie and thinks her earliest albums were the best

he got osamu on board too LMAO they go to her concerts whenever she visits their state. now you do too!!

☆ always drives with one hand on your thigh bc he’s just like that 🥰

☆ tried to learn how to play the guitar to serenade you but it was a miserable fail (he just can’t do the barre chords bc they’re so hard and what for !!)

☆ he’s such a good line-dancer tho

he’ll take you out to dance and it’s just such a vibe to see him smiling under lights, spinning you around at the barn dance with the goofiest smile on his face

☆ any time you guys fight or argue he’ll head out to the pasture behind his house and brood under the moon in the back of his pick-up truck LOL he’s so dramatic but it’s so cute!!

#miya atsumu #miya atsumu x reader #miya atsumu hcs #miya atsumu headcanons #haikyuu!!

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project-paranoia · 3 years

Text

Live Watch: S.C.I. Mystery Episode One

I enjoy camp because I've always enjoyed analysis and examination. I enjoy looking at something from all sides, testing it with my fingertips. When I was a child I would sit for hours just looking at something until I had it all held in my mind and I felt like I understood it. Camp necessitates that understanding the way that imitation and - good - parody requires it. To quote Susan Sontag - who articulated what camp is so well - Camp is "a sensibility that revels in artifice, stylisation, theatricalisation, irony, playfulness, and exaggeration rather than content." Because of this camp takes on head to head gender, sexuality, expectations, any sort of defined norm and sequins it up then shakes it down until understanding comes out. When understanding something there are three major ways to work your investigation - what it is, what it's imitation is - the close but not quite, and what it isn't. Camp handles all three, to quote again: "Camp sees everything in quotation marks. It's not a lamp, but a 'lamp; not a woman, but a 'woman.'"

Why are we talking about camp? Because SCI Mystery is some of the best kind of camp outside of drag or screaming about wire hangers. It deals a lot with mental illness in a way that would destroy a serious show, but in this one "mental illness" is a metaphor for being marginalised and a way to talk about the mouse and cat in the room. This show is about being queer. About being gay loudly and quietly, about resisting specific labels and needing them, about the threat of a cure and the blessing of acceptance. All the messy realities of queer life as varied as queer people. Like Lil Nas X's Montero, you can appreciate the effort without being comfortable with it. While the show's allegory of mental illness when many queer people are still told they are ill is done well and there is reason to the choices and tone, things are said which can be hard to hear. Knowing they're there because they're hard to hear and have been heard doesn't help everyone.

With all that said, it's also a fun, silly bl drama. Don't let the analysis scare you off. While the information about camp can be something to be aware of, all this show requires to be enjoyed is a willingness to be amused and spooked in turns.

You know the drill, spoilers below!

* I have memorised the youku sound, I have a triggered response with it. Not all triggers are bad, this one reminds me of Guardian

* Welcome to episode one where we just leap in! But don't worry, one of them has a cute earring and they are colour coordinated.

* Watching from youtube the episode is 38 minutes long while most of the others are 45. Attach whatever emotion you want to that fact.

* The exposition is handily delivered by asking a question which tells us some things, thank you show, I appreciate it

* First episode and he's already giving his partner an in case I don't come back letter to be opened if he dies

* Wait for me!~ Go!~~

* Slow walk with dramatic music: 1 (don't make this a drinking game You Will Expire) this time with bonus almost looking back

* I've seen a similar shot on Hawaii Five O

* Don't explain what's happening, just knock everything over with a jump kick in some absolutely spotless white tennies

* Running with dramatic music with bonus looking back: Does it count? We have yet to hear back from the judges

* They leap into the water with an explosion behind them, we are less than 2 minutes in and I love that for them

* At first I thought the boats were making a big heart before I remembered that I am very silly and they are not doing that

* This one is going to be long

* I can see his pockets through his trousers, why are his trousers so thin?

* It's not kissing to dramatic music in the surf if it's CPR

* Each story line has its own intro and that's very sexy of them

* Slow walk/dramatic music: 2-6

* These people are totally goofy and and yet the Seriousness

* Two Weeks Ago!

* The police school bus has arrived to shoo away the crows circling around Dr. Zhan staring (dramatically) at the body

* Sport scar policeman dresses even more unprofessionally than Zhao Yunlan who at least looks like a detective who was jumped by so many criminals he just gave up wearing a suit and went for jeans. Chief Bai's clothes are so thin, I'm under constant anxiety someone is going to tear them off.

* Also several of the cast pictures on MyDramaList look like the pictures your auntie insists taking to send to your other aunties and I love that for them

* Triple axil spin from the victim, the judges are loving it - this is the camp I'm here for

* The dramatic slo mo and music budget for this show was so big, just as it should be

* He's mad because he's angy

* Master Psychiatrist can tell all about the killer from crouching by the body, it's a trope and this is one of the few places I like it because it serves the show instead of the show serving it

* When you're almost boyfriend is going away for reasons and it's not your decision but you can't go with him because of your job so you're just low key bitter about it

* "You can't control me"

* The pettiness between these two

* Professional women who worked hard to get where they are still are constantly obsessed with boys according to most cdramas

*The male posturing in those three second has accidentally circled back around to being gay in the way those bro shows accidentally do and I love that

* I live for this 80s-90s police chief perm

* The Pettiness

* I always tend to like doctor characters, I don't know why. Even when they aren't my favourites I like them.

* She's kind of adorable, I like her (I've seen a lot of this show and every time I say I like someone it ends badly ;-; )

* "the victems"

* If you love Creative English, this is the show for you!

* Chief Bai's crew is trying so hard to get them back together

* Dr. Zhan is so good at psychology he can tell what someone looks like from some tire tracks - this trope is used all the time in crime shows, but they push it a little farther in SCI and it really helps the viewer know what the rules for the show are

* The scene in the psychiatrist's office hearkens back to queer coded villains and the way they're treated in old black and white horror cinema - but done so artfully it's almost invisible. It's incredibly well done, and the awareness of tropes and types all throughout the series is tremendously successful as much as it's campy fun.

* There's also the trope of someone who manipulates someone into feeling like they've been "purified" and then weaponises them against the "filthy". And of course the fact that the killer's blade is a mirror - that he's killing in others what he sees in himself. This trope hasn't just been queer-coded but has been applied to any sort of physical or mental disorder. Thesis have been written about this trope and the anxiety attached to it. I can't write them better and this is long enough, it's just a small part of the excellent handling of the themes showing up in this genre and I wanted to point it out because it deserves appreciation for the skill and knowledge in the writing.

* The whole you need evidence vs you're saying psychoanalysis isn't trustworthy feels very much like a coded angry exes discussion

* I love the establishing shots, so good

* He kind of deserved that door to the face, what was he even doing

* Police violence in crime shows is supposed to be a release for the viewer, but many countries have issues with police violence so it hits wrong. Here it's far more performative in a way that at least has some awareness

* The weirdest phone call, you call someone to tell them something important and they say two things to you and hang up

* The tongue thing, why always the tongue thing?

* When a serial killer tries to compliment you by calling you a carnivore and you shut down the whole alpha male supposition by calling yourself a vegetarian

* At this point I've written almost fifteen hundred words and taken almost two hours to watch 23 minutes

* This is my life, these are my choices

* Dutch Angles

* You could make this conversation about being gay, I have had this conversation about homosexuality before

* Unfortunately while I had it I was on the bus trapped in a window seat

* The conversation didn't end with me saying something cool and everyone clapping

* They just got off the bus to go to work

* The banality of evil, yo

* Her shorts are Incredibly Short, good for her

* "arrest the perp behind my back" that's his job, broheim

* He doesn't ask why she checked behind their ears

* DUN dun dun!

* Slo mo file drop, and of course the file is blood stained and aged

* Chalk Art of Doom

* Chinese word play!

* Caught almost putting his coat over his crush, embarrassing XD

* Backstory!

* I love all the little character details, I could quote lines I think are funny all day but that would start getting silly

* Bai Yu Tong is marked as clean and having OCD but we don't see what's apparently a huge character trait at all other than the all white, do love that he's good at cooking

* Dr. Zhan: Brilliant! Genius! Cannot feed himself.

* Dr. Gong has indifference level 100% which is true and also I love that for him

* I love that Wang Shao part of the team because he's good at making friends, I love that for him

* Poor Zhao Fu: scared of ghosts and dumb and sweet? At least he has an 8 pack

* Jiang Lin is very tropey except the mention of her nearsightedness

* Ma Han's height 1.7m and legs 1.8m is hilarious and I love it

* I stopped recording the slo mo walks, but if you were drinking along with them you might be dead so I really appreciate you taking time out of your afterlife to continue reading. We appreciate all our ghost readers

* And that's the first episode! Thanks for making it to the end!

#SCI Mystery #SCI谜案集 #watchthrough #let's watch

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sole-cuore-amore-e-droga · 3 years

Text

Cyprus brings shampoo to Rotterdam 2021

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I FELL IN LOVE, I FELL IN LOVE, I GAVE MY HEART TO PRODUCT PLACEMENT.

Though I do see where they come from. Everyone from Panik Records, from her to Eleni Foureira featuring Perfectil on the “Fuego” MV, gonna need that sweet sweet money all of the time. But has Greece’s economy not really recovered for them to constantly need to advertise products on music videos or am I just losing my mind overthinking things?

Eitherway, this review may or may not appear before or during their rehearsal day, so see how do I make a fool of myself by trying to estimate Cyprus’s chances!

ARTIST & ENTRY INFO

This year we have a 26 year old Elena Tsagrinou from Greece here (the way they were last represented by a somewhat Cypriot on 2017?). She did music early on in her age, also participated in the Greek version of Got Talent. Though, before breaking out as a solo pop sensation in ways you cannot imagine, she used to be in a pop band OtherView. Strangely enough, I’ve heard of them because of this song below but I could’ve NEVER estimated it was her and never could have I predicted she would land herself a Eurovision entrance all alone:

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The band has had quite a few successful enough singles with her, she did some music shows participation and hosting, her band switched labels midway through (guess into which one they eventually landed, hint: some of the screenshots in this review have this peculiar logo), and in 2018, she had to “withdraw” from the group to go ahead and pursue the aforementioned solo career, somewhat. She continued doing a lot of shows (particularly seen on the MAD music channel related events), and doesn’t have as many singles as she had with OtherView right now, but she’s possibly well on her way to blossom as an artiste. Some of those reading (lol who am I kidding who even reads these) may be familiar with this little song of hers:

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You’ve heard way too many things about “El Diablo”, her 2021 entry, so idk if I feel like explaining the technical side of things all by myself or you already know everything. But in these reviews I repeat everyone else regardless, so let me just say that “El Diablo” is an obvious pop song, with a lot of Swedish related touches to it, because at least one person on this song also worked on Alvaro Estrella’s Melodifestivalen 2021 entry that glorifies at least a handful of the same cliches that “El Diablo” does lyrically. Dear Eurovision lyricists, you can use more foreign languages than Spanish for your obligatory foreign language incorporations, thanks~

Although I’m not sure about whether it is more Laurell Barker’s fault as much as it is Joker Thörnfeldt’s, but it’s easier to blame them equally, because the former probably came up with “ta-taco, tamale” and the latter couldn’t get enough of the word “mamacita” they used for the aforementioned Melodifestivalen entry. Anyway, the lyrics, from what I get, is that she’s in love with an eeeevil guy because he’s sweet talking her, they do some sexy stuff together (presumably), pour sauce on their bodies for no explicit reason other than “obligatory-foreign-reference-itis”, she’s breaking the rules (and idk if it was “mama-mamacita” telling her to do it), got the icy edges that the spicy is melting for her, throws eyelashes on the floor when she’s got no wigs to throw (but that doesn’t matter because even without a wig, she can flip her hair and make him look twice), and there’s as much as you need to know about the song’s lyrics as I feel like I should show to you, because eh. Eurovision has suffered from worse cookie-cutter lyricism through the years, “El Diablo” is painful but not the worst.

REVIEW

But I do like the song somewhat!

“El Diablo” was initially compared to Lady Gaga’s “Bad Romance” upon release, and I totally kind of see why, because in all the right spots you can absolutely hum over the chorus to that over the one of “El Diablo”’s, it just exchanges gratuitous French translation of one of the already sung lines on the bridge for obligatory inserted Spanish terms just for the sake of being trendy with the crowds of the nowadays, because as we learned nothing these days, having a lot of Spanish in your song is apparently trendy. And Elena does nothing absolutely batshit insane on the music video (other than advertising) - no lapdance for the devil Lil Nas X style, no being forced into a bath, no person to sell her body to (not even the titular diablo), no dancers that rise out of their Christian sleep pods. Just Elena singing behind lots and lots of trash bin bag wrap.

Honestly the bigger issue for me than the song being “sAtAnIc because it is called “the DEVIL!!!”, aside from the lyrics, is that the MV does not come with any forewarning whatsoever for the people that are seizure prone when they see strobe lights? And that happens for some extended periods of this clip? I know you are indulged in your advertising and good for you but don’t just care for the companies that pay you if you use their products, do care about people’s wellbeings too, sometime.

But enough about the MV.

The song is decently sounding. It has interesting uses of what sounds like hi-hats during the verses (e.g.: a moment when this happens for the first time on the song is after Elena sings “tonight we’re gonna burn in a par-tY” the second time, and then there’s something that sounds soaring - that’s what I think that the hi-hats did.). It also has some sort of a synth piano on the second verse to boost the song’s sound rather than just relying on 808s and beats. I quite like how the chorus is so instant somehow, idk why but it is for me. Might have a gripe with that childish choir singing “I LOVE EL DIAB-LO” in the tune of standard kindergarten children teasing tune (aka ”NA NA NA BOO BOO”), as well as the constant breathing sounds, but they don’t distract me from generally “fucking” with this song, lol. It’s just that likeable imo.

I just can’t cope with the fact that Cyprus can’t seem to dare to go at least a little bit original with their song, yanno? Ever since 2019 they were called out as being a ripoff of something... hell, everyone since 2016 except Eleni was a ripoff of something. Alter Ego? “Somebody Told Me” by The Killers. Gravity? “Human” by Rag’n’Bone Man. Replay? “Fuego” itself. Running? “Lose Control”, Meduza x Becky Hill. Now we have a Lady Gaga song wannabe that even caught the attention of another singer that the music video looked like it was ripping off, and the Eurofandom caught up in hysterics:

Heads up, folks: not EVERY short haired blonde with messy hair, silvery tank top and shortpants that writhes on the floor is a Zara Larsson clone. And I don’t know who stirred controversy first - her or the fans - but this was ridiculous to see, even for me.

Although for a second I saw where they were coming from.

Now see why I want Cyprus to go original for at least once? Because I guess that the way “Fuego” was conjured up, it brought Cyprus so much success with how the package was, how Eleni sold it, and how the song sounded. You know the first thing of everything potentially going wrong for you later on is if you find the formula you’ve been looking for, but you proceed to be using the exact same formula that got you this far in the first place, without realizing what was it in the formula that you needed to bank on to further to make it click, but instead proceed to copy everything like it was an easy, fill-in-the-blank form. You can and should do better than that.

Though that doesn’t stop me from ranking it 11th this year.

Thing is, I really expected it to be the one female pop song of the year I would have the constant impulsive need to replay, replay, yeah. Ever since the chaotic entry MV drop that occured on some random-ass Cypriot TV show where three guys talked a lot (and before that, we got a cooking show), and kept growing increasingly agitated that no one is liking their show, until at some point one of them erupted in “IN TWU MEENETS... EL DIABLO... ON UR TEEVEE”; I was really devastated I couldn’t be able to break the replay button because of Panik Records deciding to rather benefit for themselves to have the MV on their app, then on Youtube, THEN on Spotify in that order. So I listened to a few video rips that I received / had for myself, and it was a fun time... until I realized the desire to play it declined much faster than I thought it would when it actually dropped on Spotify, oops. So I can’t really let myself rank it higher, when there are at least some catchier female bangers with better overall sound, better lyrics, and better multiple-replay factor. But I can’t really settle for a much lower rank for her than 11th, anyway. Girlbanger 2021 power y’all!

That and vocally she’s actually not that bad, even if she has shown up singing her song drunk in a handful of Instastories for some event of some party house, and at the time people overreacted, but I think that at least a large audience of those same people has collectively dropped their “Cyprus obvious NQ” talks come the pre-parties.

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Panik Records, when will you put the yeehaw El Diablo on streaming? Now THAT’S a version that has replay value, and I might never get bored of it instead :(

Approval factor: Yeah, there exists some for me in it Follow-up factor: CyBC did one of the nastiest in terms of following up their 2020 arc of “Bring Your Artist Back for Revenge Year” that was 2021, straight up ditching Sandro probably right after Eurovision was done (well it doesn’t look like the case because CyBC published a statement later, but I sense that it might’ve been the case), because “Running” wasn’t doing so well with the “YAS QUEEN” branch of the Eurofandom. Which sucks because Sandro would’ve actually been down to be asked again for Eurovision, as he revealed it to NikkieTutorials during many of her interviews with last year’s class of. “Agreement from both parties” my ass, unless Sandro secretly realized that like Tom Leeb, he was too busy for 2021 Eurovision, which I doubt. It actually sucks imo that Sandro can probably be considered as even a forever non-returnee, because Sandro is more of German roots than Greek, and if we learned anything about the Mukuchyangate 2021, is that Germany will never send a returning artist, at least one that didn’t represent their country first and foremost. So Greece could only ask Sandro nicely only if the contest comes on to Germany, I guess? How do you think they decided on getting Stefania, who still ever so regularly appears on Dutch music, to represent them this year? So on that regard the follow-up from CyBC stinks, eventhough I think that entrywise the follow-up was rather decent, at least in the usual Cypriot way of sending female pop (going from “Replay” to “El Diablo” which I like more than “replay”), and eventhough I’m falling out of the hype for Cyprus I once used to have, their 2015-2021 entry streak had entries that I largely feel positive for overall, so in that regard, the follow up is decent. Qualification factor: In a year of Semi 1 Female Banger Slaughterhouse, Elena goes out in my eyes with several scratches, but not enough to completely kill her chances. If anything, given the divisiveness of Ireland’s rehearsals, Elena is likely to obliterate any last memory of Lesley Roy any first time viewer has ever had, except for her stage graphics. Even if Elena’s staging will not be as mindblowingly cartooney as the last, once a bop comes on, everyone forgets the slower song and gives into the bop, at least that’s how the draws work when choosing what insignificant song to put on 2nd and wedge in between the opening banger and some lesser-key banger, right? I know that “Replay” barely qualified, but I find “El Diablo” slightly better, and it all goes well, it will barely just as qualify as well. Because in a Semi 1 Female Banger Slaughterhouse, she can’t be the losing one, really.

INTERNAL CORNER

I already told everything that was noteworthy about Elena’s journey in previous sections, honestly.

• That I said that CyBC likely ditched Sandro right after cancellation just like Hooverphonic ditched “Release Me” should they have had a chance to keep or toss their entry. It doesn’t present itself as the case, but I just feel like it is.

• That the song was revealed on a Cypriot talkshow where three dudes were aware that we were waiting for “El Diablo”, trying to throw some gratuitous English our way, hating that we didn’t like our show, but promising that “El Diablo” MV will be shown in “TWU MEENETS”, which wasn’t but worth the wait eh?

• That people were cackling at Zara Larsson joining in the talks of Elena’s MV having aspects of her own song’s MV plagiarized.

• That Elena performed her song in a private-ish event when drunk and having heaps of fun and people cried that it was gonna be a NQ.

And do I really need to elaborate about the local Cypriot church scandal? It just so happened that a bunch of people read into a song’s title so much, thought it was rude of their country to sing about the devil (eventhough the bigger offenses made here is the gratuitous Spanish more than anything), and hoped that the broadcaster will disqualify the very song they okayed to be internally chosen because they are displeased with it - and if it’s not disqualified, they even threatened to burn the headquarters down. No, really. That’s like the most amusing part of that whole spectacle. Imagine burning a broadcaster headquarters down for a song... if I did it for every favourite of mine that lost to other broadcasters, the broadcasters would run out of locations to rent, because everything else good is pre-occupied or the ashes of their lost headquarters staring back at them.

Imagine being toxicly Christian in 2021... How long until Elena’s face gets photoshopped on the main protagoniste of The Unholy?

ANY LAST WORDS?

Even if I’m with this song, part of me kind of wants me to fail to make Cyprus realize that their formula is starting to wear thin and they got to be somewhat of a versatile nation in Eurovision if they want to be on the radar of not just one specific niche. But then again, they learned nothing when they flopped with Tamta, because she sneakily qualified as opposed to failing even harder than Tulia, ah well. Will they ever learn?

But why would I openly wish this to a top 11 song of mine, oh dear. Good luck Elena, may God be on your side, I guess. :P

#eurovision #eurovision 2021 #rotterdam 2021 reviews #cyprus #elena tsagrinou #el diablo

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tiredbiostudent · 4 years

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Hi! Could you maybe recommend some music, I keep listening to the same three songs and would love to find something new, doesn't have to be a specific genre. Also, you're blog is wonderful!

omg this is so sweet my heart is 🥺 rn but also, idk how much I can help because I also genuinely will listen to one song for an entire week straight and haven’t had a ton of time to find new music lately! but here’s some genre breakdowns of artists I love and some songs by them, or just individual tunes:

[edit: sorry this got insanely long!! I can maybe link spotify playlists if I ever get around to making some ‘:) but tl;dr my fave artists are frank ocean, sigrid, hozier, ben howard, cezinando, khalid, childish gambino, nas, lorde, the lumineers, rhcp, girl in red and travis scott]

1. guitar/rock indie-arcade fire: neighbourhood #3, the well and the lighthouse, we exist, afterlife, the suburbs, ready to start, SUBURBAN WAR!! (listen to the entire suburbs album if you want to feel rlly nostalgic about ur childhood)-ben howard (my favourite artist ever, I saw him live and it was phenomenal): rivers in your mouth, time is dancing, I forget where we were, only love, black flies, oats in the water, she treats me well, towing the line, follaton wood-rhcp (long time fave): under the bridge, by the way, californiacation, scar tissue, otherside, goodbye angels, dani California, snow (hey oh), tell me baby-city and colour (another old fave who I’ve also seen live and is amazing!! if you like hozier and the lumineers you’d like him, a bit of a less intense sound though): sleeping sickness, what makes a man, waiting…, constant knot, the golden state, killing time, wasted love, runaway, map of the world, blood, the grand optimist :’), northern wind, hello I’m in delaware-the scientist by coldplay.. if u haven’t been emo about this song since 2003 wyd-haven’t listened to her in forever but cosmic love by florence + the machine >>-girl in red (her music is great but her LYRICS r literally my soul): i wanna be your girlfriend, summer depression, i need to be alone, 4am, girls, say anything, bad idea, i’ll die anyway, we fell in love in october-harry styles: adore you, fine line, golden, sunflower vol. 6, sweet creature, lights up, to be so lonely, sign of the times, HIS COVER OF ULTRALIGHT BEAM-hozier (ANOTHER fave, fucking insane live too. sir ily): work song, in the woods somewhere, sedated, cherry wine, almost (sweet music) [song equivalent to a warm summer evening], movement !! holy f-, as it was, be, wasteland baby!-broken by lovelytheband-the lumineers (my guys!!!!): cleopatra, sleep on the floor, angela, long way from home, sick in the head, my eyes, white lie, donna, salt and the sea, slow it down, stubborn love-where’s my love by syml-mitski: washing machine heart, old friend, nobody, lonesome love-sam roberts band: bridge to nowhere, brother down, if you want it-saturn by sleeping at last-sufjan stevens: mystery of love, visions of Gideon (I don’t stan cmbyn but literally these two songs are the only thing I listened to from dec 2017 to feb 2018), the hidden river of my life, futile devices, Vesuvius-love will tear us apart cover by susanna and the magical orchestra-vance joy: mess is mine, Georgia, my kind of man, Saturday sun, we’re going home, lay it on me, take your time, I’m with you !!, like gold, crashing into you-remember when by wallows !!!

2. chill indie/pop-billie eilish: idontwannabeyouanymore, ilomilo, my strange addiction, bury a friend-cezinando (also my fave artist, and noen ganger is probs my fave album of all time): ingenting blir det samme men samme for meg, selv du, haper du har plass (if u can make it thru this song w/o crying on public transportation you are much stronger than I), tommolen pa vekta, er dette alt, usynlig-sigrid (the LOML and my other fave artist- seeing her live was the best day of my life no cap): dynamite, plot twist, fake friends, strangers, don’t feel like crying, raw, focus, I don’t want to know, her cover of sex by the 1975 changed my life fr, mine right now, BASIC !!!!!, in vain, never mine [this is highkey bc I’m a bonafide sigrid stan but I cannot recommend her ENOUGH she has one of the most incredible voices ever, is an insanely talented songwriter, and her music is so hype and beautiful and yeah :’)]-khalid (I love his voice sm, also the ceo of vibes): bad luck, cold blooded, 8teen, my bad, better, hundred, Saturday nights, suncity-run by elsa and emilie-lorde (my bby): bravado, buzzcut season, the love club, the louvre, supercut, 400 lux, ribs, white teeth teens, a world alone-fy faen by hkeem & temur (have been listening to this song for 3 yrs straight no cap)-btstu by jai paul-8896 by lapsley-joji: slow dancing in the dark, will he-moon by kid francesoli-aloha by mome (another all time fave)-karpe diem: hvite menn som pusher 50, lett a vaere rebell i kjellerleiligheten din, gunerius, spis din syvende sans-astrid s: 2AM matoma remix (one of my fave songs ever tbh), hurts so good !!!, such a boy-myth by beachhouse -mgmt: kids, electric feel-nostalgi 3millioner by tomine harket & unge Ferrari -lykke li: sex money feelings die (did I listen to this song for 5 months straight last year? hm), I follow rivers-one direction (ofc): story of my life, 18, night changes, drag me down, literally all of Take Me Home which is unequivocally their best album I will take no criticism on that-berlin by ry x-dancing with a stranger by sam smith and normani-taylor swift (not rlly a fan but wowww some of her songs): call it what you want !!!!, false god, begin again, all you had to do was stay, clean-kamikaze by Susanne sundfor-tame impala: let it happen (the og and the soulwax remix), the less I know the better, gossip-head over heels by tears for fears-somebody else by the 1975 (apparently I was the only one who only discovered this song in 2019 but it’s like all I listened to from October-December)

3. rap & rnb-brockhampton: rental !!!, face, bleach, sweet-childish gambino: ii. zealots of stockholm, heartbeat, les, the “hardbone with a hard r” remix of bonfire and redbone drooooool-drake (yikes dude but ngl. chill bops): feel no ways, u with me?, hold on we’re going home, passionfruit, you and the 6-vince staples: bagbak, lift me up, norf norf-frank ocean (LOML frank I’d die for you. also my fave artist *proceeds to list his entire discography*): SEIGFRIED!!!!, songs 4 women, nights, chanel, ivy, thinkin bout you, sweet life, pyramids, lost, bad religion, pink matter, forrest gump, in my room, swim good, dust, american wedding, provider-jorja smith: blue lights, february 3rd, on your own-ransom by lil tecca-nas (fave to end all faves): take it in blood, represent, the message, halftime, affirmative action, street dreams, one love, hate me now, cherry wine, new world-mobb deep: hell on earth, survival of the fittest, party over, shook ones pt ii-travis scott: (astroworld is the only thing I listened to summer-fall 2018 no cap) astrothunder, coffee bean, Yosemite, butterfly effect, houstonfornication, skeletons, stop trying to be god, stargazing, highest in the room-kanye (don’t roast me for this): can’t tell me nothing, ultralight beam, fade, hold my liquor-drip too hard by lil baby-(all a product of tiktok) bop, toes, suge, panini remix by da baby-migos (lmao): notice me, slippery, pure water-walk man by tmg sfdjhfkdjfsdfs-go loko by YG-the weeknd: reminder, as you are, hurt you, privilege, tell your friends, starboy, sidewalks, high for this

(I also love old school rock music but haven’t listened to it much since highschool- my fave bands are led zeppelin, CCR, boston, fleetwood mac, pink floyd, blue oyster cult, styx, the who)

#i am. sorry.#also me making this realizing how intensely my music taste is based off tv shows. ok one tv show fsdhsdfjfdshkjfd #asks #long post #music

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danishprince · 5 years

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redid this 92 questions meme from 4 years ago for Fun and Profit because i like seeing how much i’ve changed over the years. not tagging anyone, but if you want to answer the questions, go wild

what was your…

last beverage? woter

last phone call? a confidential call to a research lab at my university because they’re studying alcohol use in young adults and wanted to know if i fit the criteria to be in the study (i do, so i get money for it fuck yeah)

last text message? i told my dad that our neighbors got two of their trees cut down and his response was “Wwwow”

last song listened to? currently listening to “evening prayer aka justice” by ezra furman!

last time you cried? maybe like saturday or sunday? not really sure

have you ever…

dated someone twice? nah

been cheated on? don’t believe so

kissed someone and regretted it? eh i’ve had a few kisses that i look back and kinda cringe at because we were really drunk or i was Not Into Them or whatever, but actually, truly regret? no.

lost someone special? it’s been awhile since anyone close to me died. my maternal grandma (and step-grandpa) are getting pretty old/less healthy though so i’m like starting to already feel weird snatches of anticipatory grief for that which :/

been depressed? i’d say so yeah, on occasion

been drunk and vomited? fun story i briefly thought i was allergic to alcohol freshman year because i’d throw up every time i drank. TURNS OUT however i just was a dumbass who didn’t know how to hold their liquor

list three favourite colors: hot pink, teal, black

in the last year, have you…

made a new friend? yes indeed

fallen out of love? cannot say that i have

laughed so hard there were tears? oh constantly. though i do that regularly because of the dumbest shit, so that’s not, like, an anomaly

met someone who changed you? YES the professor of my psych lab whom i ADORE

found out who your true friends are? yeah, or at least i feel way more comfortable and grounded in my friendships than i did. which is cool!

found out someone was talking about you? i overheard my coworker at our (drama-filled, my god) orientation leader job bitching about some other coworkers, but then what she said about me was “yeah katie’s pretty cool” so i was like :) :) neat

kissed anyone on your facebook “friend list”? hell yeah babey

general questions.

how many of your facebook friends do you know in person? the vast majority. there’s a few Spelling Bee Kids who’ve just added me for Spelling Bee Clout that i don’t know irl, but otherwise i don’t really add people i don’t know

how many siblings do you have? 1 (one) 16-year-old bröther

do you have any pets? 1 (one) very old round guinea pig named hamlet

do you want to change your name? eh not really. i’m not, like, obsessed with it, but it’s a decent name and i have no urge to change it

what did you do for your last birthday? i turned 21, but it was a monday, so i went to a restaurant with three of my friends and ordered 1 (one) Alcoholic Beverage. then later that week i went to a coffee bar that serves alcohol later at night with some of my other friends and had more Alcoholic Beverages there

when did you wake up today? 9:30ish

what were you doing at midnight last night? being asleep lmao

something you cannot wait for: going to arizona and later going back to kentucky for senior year of college (holy fuck)

when did you last see your mother? like 15 minutes ago, she’s doing laundry or something

what is one thing you wish you could change about your life? where 2 begin. uhh i wish i was more naturally outgoing instead of having to consciously turn on my Extrovert Persona in certain scenarios and end up getting super drained from it. i also wish i knew what the fuck i was doing with my life but i think that’s just, like, The Eternal Twenty-Something Mood (at least i hope it is dear god)

what are you listening to right now? the song “rodeo” by lil nas x, which PERSONALLY said gay rights

have you ever talked to a person named tom? yes multiple, and every tom(my) i have hated (sorry if you’re a tom and you’re a decent human bean)

what’s getting on your nerves right now? i have to do a bunch of important life and school stuff but i am procrastinating it! so i guess...my brain

most visited webpages: twitter, tumblr, discord, instagram, the dear prudence advice column on slate dot com lmfao

blood type: o+ i believe, but i am too smol to donate blood so i do not know for sure :(

nicknames: some of my friends refer to me over text as k8e and i love it tbh. also katie itself is a nickname

relationship status: single but like, kind of a thot

zodiac sign: virgo sun cancer moon cancer rising

pronoun: they/them but she/her is also fine

primary school: private lutheran school

middle school: the same private lutheran school

high school: public school

college: university of kentucky for undergrad and also a concurrent grad program (long story). maybe more grad school???? somewhere else??? or not???? I Don’t Know

hair colour: honey blonde

long or short: hair? just got it cut short in january and it was the best decision i ever made

height: 5’6"

do you have a crush on someone? define “crush”

what do you like about yourself? i’m a good listener and writer and also sometimes my Funney Joaks land

do you have any tattoos? nah. i am afear’d i’d regret it

are you right- or left-handed? right-handed

first surgery: some ear procedure thing in kindergarten. if that doesn’t count i got half my wisdom teeth out the summer before college and the other half the summer after freshman year (but was technically awake for both)

first piercing: ear piercings when i turned sixteen

first best friend: uhhhhh my friend stephanie from home-preschool? or this girl named grace who was my kindergarten best friend but then moved away

first sport you joined: i believe dance classes when i was but a little peanut

first vacation: idk? we went to san diego when i was two i think? don’t remember it though

first pair of trainers/sneakers: good question. had some boss-ass light-up shoes once

right now i am…

eating: popped corn

drinking: woter

about to: hopefully write this [bernie sanders voice] damn email, but who is to say : - )

listening to: my liked songs on spotify (currently “i think i’m going to kill myself” by elton john)

interested in having children? if that’s how the proverbial cookie proverbially crumbles, yeah. that idea seems really far away even though i know high school classmates with kids.

interested in getting married? yes, but if and only if i meet the right person

ready for a career or have one? [sobbing]

which is better…?

lips or eyes? eyes generally, but lips are also Good

hugs or kisses? k i s s e s. i lov to kiss. love hugs too though if it’s with friends

shorter or taller? actually being a similar height to me is optimal!

older or younger? mmm i tend to subconsciously lean older, but younger is fine too

romantic or spontaneous? the wording seems to imply that “romantic” and “spontaneous” are opposites which just isn’t true. both??

nice stomach or nice arms? arms i guess?

sensitive or loud? my first impulse was “loud” but like....loud in that i tend to gravitate to people who are more extroverted than me, but not in terms of being overtly annoying or demanding.

hook-up or relationship? :^) judging by my History(tm) it’d be committed hook-up, lol. but like either is good. am not about sex with a stranger though.

troublemaker or hesitant? troublemaker ~vibes~ but not actually, like, a danger in any way. being hesitant can be cute, but i myself am often pretty hesitant so it can become an Awkwardness Standoff more often than not

have you ever…

kissed a stranger? no, but came damn close in greece

drunk hard liquor? oh yeah lmao

lost glasses or contacts? i’m sure i’ve lost a pair of contacts somewhere in there

had sex on the first date? depends on your definition of “sex”, and also on your definition of “date” really, but also Yeah

broken someone’s heart? i hope not, but i think maybe :/

had your own heart broken? ....ish?

been arrested? nope

turned someone down? yyyyyyep

cried when someone died? not in my memory? though i might have

fallen for a friend? :^) haha oh yeah

do you believe in…

yourself? i try oh my god do i try

miracles? i think

love at first sight? nah. i think intrigue at first sight is a thing, or lust at first sight, or even just a bizarre extraterrestrial sense of Knowing, but real genuine love? nahhhh son you gotta know someone deeply for that. mortifying ordeal of being known and all that

heaven? mm yeah i’d say so

santa claus? no, and i haven’t for a hot minute there

kissing on the first date? lol yeah kiss away

angels? fuck yeah sometimes they’re circle things with 56879879677 eyes and they’re cool af

well in review i have indeed changed quite a bit from myself four years ago! in summary i am more of a thot and also drink alcohol. idk. my answers then ~seemed~ more sure of myself in terms of, like, this façade of being chill all the time, but less sure re: how i related to other people. all my angst on those questions was about school instead of general personhood. 4 years ago i also definitely /remember/ being insecure (at the time) about the fact that i’d never kissed anyone/etc., but my answers themselves don’t look that way. (sidenote being insecure about that kind of thing really isn’t worth it, everyone does life at their own pace.) whereas now i feel more open actively discussing my insecurities (see above re: future plans/etc.) instead of just boxing them down and pretending they don’t exist. as a high schooler i thought i was bad at being a person, and i feel like i’m a lot better at being authentic with myself (and ergo, being a person) now. though of course there is no right way to be a person which is something i still frequently have to remind myself.

ANYWAY yeah that was a fun waste of an hour feel free to use these questions for yrself

#tag meme #personal #92 questions #about me

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deadcactuswalking · 3 years

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REVIEWING THE CHARTS: 10/04/2021 (Olivia Rodrigo, Demi Lovato)

Well, I guess it’s a pretty slow week – at least more than I had predicted – given that I thought Demi Lovato and Olivia Rodrigo would make a lot more of a genuine impact high up in the chart than they actually did. I can’t really predict the chart accurately at all in those conclusion segments considering I write and release these episodes even before first-day streaming numbers are released, but I at least expected Rodrigo to debut in the top 10. Alas, we have kind of an unexpected filler week, before Taylor Swift impacts the charts next week – I think that prediction’s enough of a safe bet to be right, right? Anyways, Lil Nas X’s “MONTERO (Call Me by Your Name)” stays at #1 for a second week that I didn’t see coming, and let’s just start REVIEWING THE CHARTS.

Rundown

Now I talk about music that is purposefully out of my comfort zone on this series – the music is accessible, sure, because it’s charting music but not all of it is in genres and scenes or by artists I know a hell of a lot about or have listened to repeatedly. Hence, I don’t tend to talk about my own music taste often on here, because of two reasons: one being that I’m unsure it even exists and can be summed up in a sentence, and two being, well... according to Spotify’s “On Repeat” playlist, I’ve been listening to “Paralyzer” by Finger Eleven an obscene amount this past week – if you had to make a Cactus Chart, it would probably debut at #1 15 years after the fact. Now, ignoring the fact that I kind of do want to make that chart, which I probably can with last.fm, I’m sure that will quell any need to talk about my own deeply embarrassing musical habits on this page ever again. Now, moving from the Cactus Single Charts to the UK Top 75, which is what I cover, we can see that there’s been some minimal action on all fronts.

In terms of our drop-outs, we do have a couple notable ones, including both of Fredo’s songs as ACR cuts their streaming numbers and hence, rather unfairly and inaccurately, “Money Talks” with Dave and “Ready” featuring Summer Walker both exit the top 75. I guess they were on their way out eventually, and some ACR-affected songs have indeed survived this week, but it’s still annoying to see for songs that are contemporary and still popular. Otherwise, we have “Wants and Needs” by Drake featuring Lil Baby exiting, as well as some genuinely big hits from this Winter, those being “Good Days” by SZA, “Whoopty” by CJ – finally – and “you broke me first” by Tate McRae after 35 long weeks. Now the charts are no longer addicted to blue cheese, what’s filling in the gaps?

Well, we only have one returning entry, that being “Dreams” by Fleetwood Mac, a song that seemingly cannot stay dead, not that I’m complaining. What’s more interesting is what’s on the chart itself, as we do have some notable climbers and fallers. For the notable losses, we have “Good Without” by Mimi Webb at #23 off of the debut, “Patience” by KSI, YUNGBLUD and Polo G at #24, “Anyone” by Justin Bieber at #31, “6 for 6” by Central Cee at #37, “Blinding Lights” by the Weeknd still here at #38, HVME’s remix of Travis Scott’s “Goosebumps” at #39, “Head & Heart” by Joel Corry and MNEK finally dropping out of the top 40 at #41, “What’s Next” by Drake continuing to collapse at #49, taking “Lemon Pepper Freestyle” with Rick Ross at #51 along with it, “telepatía” by Kali Uchis at #56, “Mood” by 24kGoldn and iann dior at #62, “Sweet Melody” by Little Mix at #66, “Someone You Loved” by Lewis Capaldi finally making way for an exit at #68, “Bringing it Back” by Digga D and AJ Tracey at #69, “Cloud 9” by Beach Bunny sadly at #70 off of the debut and finally, “You’re Mines Still” by Yung Bleu featuring Drake at #72.

What’s shocking to me is the little impact that both Demi Lovato and Lil Tjay had, showing that people might just not care about these artists past their singles. Sure, we got some tracks from both of them – that are already being pushed as singles – but on Lovato’s side, “What Other People Say” didn’t move an inch and we only got minimal gains for Lil Tjay’s “Headshot” and “Calling My Phone”, which I expected to go back into the top 40 and top 10 respectively. In terms of our actually notable climbers, well, we have “Mr. Brightside” by the Killers going for a fiftieth chart run at #67, “Beautiful Mistakes” by Maroon 5 featuring Megan Thee Stallion at #60, “Don’t You Worry About Me” by Bad Boy Chiller Crew surging up to #53, Tom Zanetti getting his first top 40 hit with the garbage “Didn’t Know” at #40, “Black Hole” by Griff at #33, Majestic’s remix of Boney M.’s “Rasputin” at #29, “Ferrari Horses” by D-Block Europe and RAYE at #22, and that’s about it other than our single notable change in the top 20, that being “Millions” by Russ Millions and Tion Wayne up to #13 off of the debut, despite being an absolutely worthless song. In fact, it’s looking pretty dire in the top 20 in general, I’m starting to hope that my Cactus Charts actually had any impact. Regardless, we still have eight new arrivals to discuss, so let’s start right at the bottom.

NEW ARRIVALS

#73 – “Film out” – BTS

Produced by UTA and back number

Now, BTS occasionally releases songs for the Japanese market, a common practice for K-pop bands – as far as I know – and this one in particular was marketed only in Japan for a Japanese film. Therefore, I think I was pretty reasonable in thinking this wouldn’t even get close to charting, but I should never underestimate the power of BTS fans buying digital singles. After all, that’s what kept “Dynamite” on the chart for as long as it had its run. Now, I’m not well-versed in J-pop at all other than some brief dives into city pop and picopop – both of which I enjoyed thoroughly – so I didn’t really know what to expect but it does make perfect sense to me that the boys are crooning over a cleanly-produced, theatrical piano-lead instrumental. Given that there’s a post-chorus consisting almost entirely of “ooh-ooh, la-la-la-la” about 45 seconds in, I gave up entirely in terms of lyrical content, although reading some of RM’s translated lyrics in particular makes it seem oddly poetic. How does it sound? Well, exactly as I’d described it: the boys are reigning themselves into to a more subtle instrumental and whilst some of the multi-tracking is distracting and each of the parts don’t really flow as well as they wanted it to, especially due to the loud vocal mixing which definitely overshadows the impact of the wonderful string swells in the final chorus and gives you enough audio-wise to completely ignore the trap-adjacent percussion. The song’s fine and I do like the inflections of acoustic guitar especially, but I’m not really impressed by this, not that I was supposed to – it’s a Japanese soundtrack song, it’ll be gone tomorrow and I’m sure the audience there is enjoying it more than I can.

#64 – “Summer 91 (Looking Back)” – Noizu

Produced by Noizu

Now if you don’t know how Noizu is, I can’t blame you as neither did I. I quickly found out he was another house producer and this track that had been released in January had just gained enough steam to debut this week. The guy has been in EDM production for a while and was immediately cosigned by people like Skrillex and Diplo, and he seems to hide behind this cartoon character for branding and anonymity’s sake, which I can’t blame him for when I consider the public images of both Skrillex and Diplo. The song, originally just called “Summer 91”, was remixed for a major-label release on RCA, and it’s about what you’d expect. It’s a deep house track with a driving 90s MIDI piano melody, uncredited female vocals that can’t even get close to the power of those diva house vocals from decades before and a anti-climactic drop with some cheap percussion. The chorus actually sounds a lot like “Body” by Loud Luxury and brando from one or two years ago, so it’s not even that original in its main hook, though I can give it credit for the synth-work being more sci-fi and kind of interesting, and its song structure being increasingly disjointed, even moreso than the typical house-pop track that debuts low on these charts, which means a lot less when the song has so little tricks up its sleeve. And no, the 220 KID remix isn’t any good either, in fact, it’s a lot worse.

#63 – “Run it Up” – Lil Tjay featuring Offset and Moneybagg Yo

Produced by Josh Petruccio

I tried to listen to that Lil Tjay record and within five tracks decided it was absolutely not worth my time, so I’m glad we only have a single song from the album debuting, though I am surprised that it seems to be the borderline posse cut that runs for nearly four minutes and I’m immediately disappointed. I know how all three of these guys can flow and how fast and high-energy all of they can be, as well as how smooth Offset always is, so why is this beat such a dull, piano-lead sludge with gross bass mixing? Why is Lil Tjay wasting my time both content- and delivery-wise, flubbing rhymes to the point where he doesn’t even bother finishing the line, even when he cops Roddy Ricch’s “The Box” flow in the middle of his verse? Why is the chorus just “Run it up” repeated ad infinitum with no energy? Okay, so it’s not all bad – Offset impresses flow-wise as he always does, trying his hardest to inject some energy into this with his ad-libs and constantly changing flow, because at least he has a personality and some charisma, but even he stops trying by the end of his verse. Moneybagg Yo channels 2 Chainz but without anything that makes 2 Chainz a worthwhile presence for a verse that somehow ends up as the best, most consistent here, and, yeah, I now know me skipping the majority of this record was a good choice.

#59 – “Runaway” – AURORA

Produced by Odd Martin and Magnus Skylstad

I know nothing about AURORA, and I was pretty confident I wouldn’t need to past her John Lewis advert success and her part on the Frozen II soundtrack of all places, but alas, she’s charting again with no kind of visual phenomenon attached to it. AURORA is a Norwegian singer-songwriter on the same wavelength as Bjork and hence the eye of a lot of critical success that doesn’t necessarily translate always into album sales. She has seen intermittent success with singles so I assumed this had just been somewhat of a breakout single from her newest record... but no, it’s from her first album and the single was released all the way back in February of 2015. So, naturally, you’ve got to assume TikTok and you would be correct, but is the song good? Well, the vocal loop double-tracked to act as a synth melody and eventually a choir is kind of a cool idea, and AURORA herself has this frail, accented delivery that’s definitely endearing. The song itself is about escapism and running away from confronting your emotions and the writing is good, even if it tends to be a bit messy if more attention is placed onto it, particularly in the verses. That’s not to distract from the fact that this is absolutely a song from 2015 as if you couldn’t tell from the percussion you can tell from the future bass-esque that’s almost cringeworthy in its anti-climactic entrance and doesn’t even really work at all, especially when it just disappears prematurely. I get going for a glitch-pop thing but it just does not make sense in a ballad like this, in fact, I’m finding it hard to find a part that could be used in a TikTok. The second drop works a little better because AURORA has more conviction in her desperate vocal delivery that sounds legitimately great, but I still think there’s such little impact in the percussion that the blend of synths and strings becomes ultimately just a distraction from what could have been a decent piano ballad. It makes it more interesting, for sure, but also more frustrating. Much like Ryn Weaver’s “Pierre”, also a 2015 indie-pop track suddenly charting six years after the fact a couple weeks ago, there’s a good song hidden somewhere in shoddy and awkward production. I really wish I could have liked this more.

#50 – “Dancing with the Devil” – Demi Lovato

Produced by Mitch Allan

Okay, so our next two songs are both from Demi Lovato’s comeback album, Dancing with the Devil...the Art of Starting Over, an album that if anything I am glad exists as it is a catharsis for Demi Lovato that needed to be released as it discusses her overdose, rehab, last relationship and everything both leading up to those events and the aftermath of them. The album isn’t perfect but feels open, revealing and most importantly an honest release for Demi Lovato and I think that’s worthy of praise in itself. As a 19-track album, it is bloated but does have enough sonic experimentation in the pop sphere for it not to grow stale, and I think there are great songs in there – it’s a good album – but you can already tell it’ll be dated soon enough, not that that’s really a problem now in 2021, but might hurt future revisits, especially with some of the production that already sounds awkward. Thankfully, we get two pretty down-beat and dark tracks from the record, which is where it usually shines, the first being the (half-)title track, released just a week before, and it’s pretty excellent. This soulful track builds itself on echoed percussion, subtle piano and Demi stumbling purposefully through verses detailing her mindset when she drinks alcohol and soon enough ends up “dancing with the Devil” and taking harder drugs like cocaine and heroin in the second verse. Musically, the chorus does struggle with some awkward mixing that makes the strings and instrumentation kind of pile up in a blend that sounds a lot louder than it should be, especially when everything is layered up to make each instrument indistinguishable and unrecognisable, pushing Demi’s vocals to the middle and forcing each multi-tracked ad-lib and vocal run to barely fit in the mix. I love this song from a songwriting standpoint even if it tends to be a bit blunt, but it definitely suffers from this production, which is mostly fixed in...

#44 – “Met Him Last Night” – Demi Lovato featuring Ariana Grande

Produced by Xavi and TBHits

This is my favourite song on the record by a fairly big margin, as everything seems to work here, in a way that doesn’t happen across the rest of the album. The song goes for a similar metaphor with the Devil being illicit substances, something that’s been done before and will continue to be done for eons, but Demi and the songwriters do go for a more unique take on it, picturing both Demi and Ariana in a bar or some kind of late-night hang-out as they “see the Devil” – really, seeing themselves at a low point partaking in substance abuse, which is a really interesting and potentially heart-wrenching perspective, especially if we’re going to get the duality of the chorus being self-aware of these vices but ultimately indulging in them anyway, compared to the verses and bridge where Ariana acts as Demi’s consciousness, vowing and pleading with her never to let drugs “take advantage of her innocence” again. The bridge is just wonderful in how the interplay between Ariana and Demi leads to Demi confronting these vices and promising that she won’t ever end up this bad again, before the truth is revealed by Ariana twisting the pre-chorus. Originally, it’s a threat to “the Devil” – that she can see right through the initial appeal of taking hard drugs and will try her hardest to dismiss them – but with the added context of that bridge, becomes a pretty telling response to Demi’s confidence, shutting her down by saying she sees through this facade of willpower and that she’ll still resort to substance abuse once again... which is sadly reinforced by that final, striking chorus that doesn’t change at all from the first, constructing a narrative that ends up going full-circle as Demi is back to where she started. It helps that this instrumental is downright demonic as well, with those menacing 80s synths sliding over some gorgeous violins in the intro, before all of that cuts out for the pre-chorus as that leering melody is whispered by both singers, and the chorus continues to rise with the strings, synthesised brass and the sparse percussion, which drops in Ariana’s verse to become a booming, drill-adjacent beat not afraid to cut out for Ariana’s multi-tracked humming. In fact, I love how organically this beat moves despite it being so obviously programmed, with the swelling of those strings before every impact and the intricate vocal sequencing making sure every gorgeous vocal run and ad-lib is heard. I’m almost glad I’m confident in this not becoming a hit because I would have already talked it to death here before it gets a chance to top my best list, as this is one of the most brilliantly-constructed pop songs I’ve ever heard and absolutely deserves your attention.

#43 – “Nice to Meet Ya” – Wes Nelson featuring Yxng Bane

Produced by Ayo Beatz

And now for some guy featuring some other guy produced by another guy. To give full credit, this beat is actually very well-produced, especially with that gorgeous piano lead in before the reggaeton-esque drum rhythm kicks in alongside those squeaky horns. It’s everywhere else where this song collapses in on itself, as Wes Nelson’s voice is drenched in so much Auto-Tune and reverb that it just sounds grossly cheap, with some comical ad-libs and some comically bad lyrics in this chorus, which I’ll repeat to you now. In a rather Shakespearean tone, our lead artist plays poetic word association with the hedonistic lifestyle of one Wes Nelson, excitedly greeting the listener with a “Nice to meet you”, before striking our deserved attention with his simplistic albeit bitingly effective rhymes. “Stepped in froze, freezer. Christian Dior, huh? Christian Dior, Jesus.” I don’t expect Nas from this guy but I at least expect bars that makes some kind of sense and don’t sound like juvenile attempts at early 2010s Drake-esque hashtag-rap. The song continues to waste the potential of its pretty great production as Wes Nelson strains his voice and somehow still ends up mumbling in his off-beat flow and janky cadence. Yxng Bane is, I hate to say it, probably the best part of this track, as at least he can convincingly sing and his detailed description of him messing around with a vegan girl (which has no relation to what he says, but he still says it) is at least more interesting lyrically than whatever Wes Nelson’s saying. “I met her in Victoria’s Secret then she let me into her Victoria’s secrets” is about as awful as a line when sang as it is read, and I mean, Wes Nelson’s falsetto doesn’t do him much justice in the unnecessary third verse either, so, yeah, this is a pretty crap attempt at riding a great beat. Give this to Rema or Burna Boy and something could have been done with this.

#27 – “deja vu” – Olivia Rodrigo

Produced by Dan Nigro

Finally, we have the follow-up single to Olivia Rodrigo’s “drivers license”, a song I liked, and I’m glad I did because so did Olivia herself and her producer Dan Nigro, as here we have essentially a sequel if not a reboot to that song. Here, Rodrigo starts to question the authenticity of Joshua Bassett’s new Disney-ordered relationship with Sarah Carpenter—I mean, her unnamed ex-boyfriend’s new fling with another woman. It’s an interesting take to have Rodrigo in a place where somewhat sympathises and pities the new girlfriend, as she’s not getting anything unique or new from her ex-boyfriend anymore. In fact, a lot of this song is really confrontational as she demands the boyfriend to tell his new girlfriend that all the stuff he’s doing with her is what he did with Rodrigo. That’s all fine and good but how does the song sound? Well, it’s got a bell-based instrumental, almost one that’s childish and intimidating, which is perfect for the petty selfishness of the content. In fact, the song as a whole seems to attempt to go for that, with the hilariously multi-tracked and echoed fake laughter in the first verse, as well as all of the extra inflections and backing vocals throughout. The song builds in a very similar way to “drivers license”, but drops earlier into a killer indie-rock groove with a squealing guitar and incredibly distorted drum pattern, almost reminding me of a Flaming Lips song if that’s not too far-fetched of a comparison. This song ultimately does enough to derive and distinguish itself from “drivers license” and whilst it’s not as smooth of a powerful pop track as that one was, and the mixing here is definitely more awkward, we get a different side to Olivia Rodrigo that we’re not to have as much sympathy for. Sure, we know how tough the feeling of being replaced is, but she’s noticeably pettier and arguably kind of unlikeable especially in that bridge, which is a lot more fast-paced than the rest of the song and also has somewhat gratuitous swearing because this is still a formula. Overall, I think this is a pretty great song and I might ultimately prefer it to “drivers license” just out of how it sounds and I’m always happy to see more genuine rock on the chart, so I’m glad we end on a good note.

Conclusion

And on said note, Olivia Rodrigo cops the Honourable Mention for “deja vu” – not that there was much competition – with the Best of the Week going to “Met Him Last Night” by Demi Lovato featuring Ariana Grande. For Worst of the Week, it’s really not that easy as I thought it would be as not much here is that bad at all. I guess I’ll give it to Lil Tjay once again as “Run it Up” featuring Offset and Moneybagg Yo is just joyless, with a Dishonourable Mention for Wes Nelson and Yxng Bane for just crapping all over a great instrumental on “Nice to Meet Ya”. Anyway, here’s this week’s top 10:

I’m not sure if I can make any confident predictions for tomorrow, other than the impact of Taylor Swift, Twenty One Pilots and, if I’m getting my hopes up, BROCKHAMPTON? Regardless, thank you for reading and I’ll see you next week!

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fangsmyth · 4 years

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GET TO KNOW THE BLOGGER.

can be used for RP && non-RP blogs to get to know a bit about the person behind the screen

1. FIRST NAME : quinn or byleth i’m good w either

2. STRANGE FACT ABOUT YOURSELF : i’m so flexible it literally hurts my joints and was once mistaken for rheumatoid arthritis

3. TOP THREE PHYSICAL THINGS YOU FIND ATTRACTIVE ON A PERSON : dyed hair, good somft cheeks, freckles...... Freckles 😳

4. A FOOD YOU COULD EAT FOREVER AND NOT GET BORED OF : pasta

5. A FOOD YOU HATE : uh... most??? but fr oysters disgust me

6. GUILTY PLEASURE : making too many ocs!!!!

7. WHAT DO YOU SLEEP IN : whatever. sometimes just my undies sometimes nothing sometimes pjs i could be wearing a garbage bag and sleep just fine

8. SERIOUS RELATIONSHIPS OR FLINGS : i mean i’d LIKE a relationship but my confidence petrifies the souls of many

9. IF YOU COULD GO BACK IN THE PAST AND CHANGE ONE THING ABOUT YOUR LIFE, WOULD YOU AND WHAT WOULD IT BE : not go to scad i’ll tell you that for free

10. ARE YOU AN AFFECTIONATE PERSON : oh absolutely not

11. A MOVIE YOU COULD WATCH OVER AND OVER AGAIN : promare........

12. FAVORITE BOOK : And Then There Were None, The Vampire Lestat

13. YOU HAVE THE OPPORTUNITY TO KEEP ANY ANIMAL AS A PET, WHAT DO YOU CHOOSE : axolotl!

14. TOP FIVE FICTIONAL SHIPS ( IF YOU ARE AN RP BLOG , YOU CAN USE YOUR OWN SHIPS AS WELL ) : i ain’t tellin like 80% of my ships are ocs/canon or ocs/ocs it takes a village

15. PIE OR CAKE : caaaaake

16. FAVORITE SCENT : frankincense... or dragon’s blood... pretty much any kind of incense

17. CELEBRITY CRUSH : lil nas x don’t judge just flip through his twitter account

18. IF YOU COULD TRAVEL ANYWHERE, WHERE WOULD YOU GO : roooome? japaaaaan? h

19. INTROVERT OR EXTROVERT : you see i thought i was an ambivert but then i was told i couldn’t leave my house so i guess i’m an extrovert apparently bc this shit SUCKS

20. DO YOU SCARE EASILY : yeah don’t fucking touch me with your jumpscares or bugs i got killed by a tarantula in animal crossing and haven’t touched the game since

21. IPHONE OR ANDROID : i’m a clown i could go either way

22. DO YOU PLAY ANY VIDEO GAMES : oh too many i’ve been playing ffxiv a lot, i still kind of like league, i have my heart set on getting back into playing disco elysium and whispers of a machine soon, backstage pass was underrated, bastion has stuck with me for 27 slutty, slutty years

23. DREAM JOB : ideally a ux/narrative designer for a game development company, but even better if it’s a company that i founded and am running

24. WHAT WOULD YOU DO WITH A MILLION DOLLARS : mooove to toronto and set up shop there. maybe travel a bit?

25. FICTIONAL CHARACTER YOU HATE : not gonna put out any names bc i love myself and don’t wanna get killed but with every modern fire emblem game there’s at least one character that’s really popular that i Cannot stand

26. FANDOM THAT YOU WERE ONCE A PART OF BUT AREN’T ANY LONGER : oh god trauma center i lowkey miss those games though

tagged by : idr when i snatched this it was in my drafts and i’m trying to avoid the work i have over break

tagging : whoever wants to fuckin do it what am i your dad

#ginger lemon radler ( ooc ) ;;#pull my trigger ( memes ) ;;#i am....... Trying to come back i am SO sorry ;_;#long post //

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gyrlversion · 5 years

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Amber Mark On Insecurity, Her Next Album, and Learning to Love Old Town Road

Though a thunderstorm sidelined her scheduled set at Pitchfork Music Festival in Chicago’s Union Park this past weekend, singer, songwriter, and producer Amber Mark hasn’t let the rain dampen her spirits. The artist behind 2017’s 3:33am and 2018’s Conexão EP speaks warmly and effusively as the weather clears and the sun begins to set on a chaotic summer evening.

Mark, who self-produced both 3:33am and Conexão, has steadily earned critical acclaim and a widening fanbase for her stirring alt-R&B and do-everything approach to her music. But this year, in advance of her next project, Mark is beginning to bring other creatives into her fold: April’s “Mixer,” a bouncy summer groove, was produced by “Shallow” songwriter Andrew Wyatt, while her most recent effort, “What If,” is a collaboration with Jeff Gitelman, whose credits range from work with Chance the Rapper, H.E.R., and Mac Miller.

Though additional details on her next album remain scarce, Mark knows where she’s headed with the project, as it aims to delve into a three-chapter arc of a rising artist in search of their self-confidence. MTV News caught up with the “S P A C E” singer to learn more as she awaited the Isley Brothers’s closing set to cap Pitchfork’s second night.

MTV News: Your most recent single is “What If.” On Instagram you called it your favorite song you’ve created so far. Why is that?

Amber Mark: I think just the whole vibe and the message and… I don’t think it’s the most meaningful song I’ve ever created but it’s definitely the one I bop to the most. I just feel like it’s one of those feel-good songs. Sometimes, I listen to music, and I’m like, “Fuck, I wish I created that!” And that song is one of those songs to me. I’m so happy I was able to be a part of it, and write half of it, and help with production and stuff like that. It’s pretty crazy that I get to call it mine.

MTV News: Was there a song you had in mind when you were making it?

Mark: No, not at all. [Jeff Gitelman] made this beat from scratch, and I just sang a bunch of melodies and gibberish over it, and wrote a hook, and we did the first verse. I didn’t work on it until two years later, and this guy, Lincoln Bliss, ended up writing the second verse because I had to go into the studio the following day and I was in a session prior. I didn’t really have time to write a second verse, so I just had my friend Lincoln write it for me.

MTV News: Oh, wow.

Mark: I was kinda nervous! Because he’s a poet, and I had never seen anything, and he was, like, “I’ll just try it.” And I was like, alright, you wanna try it out? I kinda expected it to not be good, but it ended up being really good. I was like, Oh, I guess I’ll use this!

MTV News: How do you know him?

Mark: He actually is — or was — a bartender at my godparent’s restaurant. And we became really good friends, and he kept telling me he was a poet.

MTV News: Having produced your past two projects, 3:33am and Conexão, what is it like to turn that process over to Jeff Gitelman on “What If” and Andrew Wyatt on “Mixer”?

Mark: It was hard. At first I really didn’t like it. It took awhile to like any music I had done with people or even get acclimated to working with other people. But now I understand it more and I have less anxiety going into sessions. You just gotta find the right people, people that you really vibe with. It was hard having a song I didn’t write, with Andrew Wyatt, but he’s such an amazing guy and the second I heard the song, it was just a fun… Because I really try to have a lot of meaning behind the things and be really honest with a lot of stuff I have, but just “Mixer,” as a single, it was a good vibe. It really felt like a dance tune. I kinda let it go for that one and I’m really happy I did. It’s really weird. You have this mentality when you start out, No, I just wanna do it on my own. I don’t want anybody’s help. But then you just realize, opening up and compromising and things like that, you have a whole new set of ears and creativity.

MTV News: What drove your desire to learn to produce? How difficult was it to pick up?

Mark: It is still difficult. I go into sessions and I see these producers just, like, what takes me hours to do, they’re just like… I get frustrated with myself a lot, but it’s a learning experience. But when I started out wanting to do music and being an artist and writing and stuff like that, I used GarageBand and would just come up with demos and was like, oh, I’ll just show this to a producer and then we can do something with it. This was before I had put anything out. It was two years before I had put out “S P A C E.” Anytime I would go into sessions — [with] random friends of friends or whatever, anyone I could find and would wanna work with me — I never really liked what they would do. So I just learned a lot and accumulated a lot from people and there was one point where I just got really frustrated, toward the end of 2015, where I was like, y’know what? I feel like I know what I’m doing. I can do this on my own. I had just gotten Logic. That’s when I wrote “S P A C E.”

MTV News: That was the first song you produced?

Mark: That was the first song I’d finished. I had started “Can You Hear Me?” prior to that but I never finished it. I just put it out, and then one thing led to another, and then I was like, y’know what? I’m just going to continue producing on my own. And still to this day I prefer it. I get really nervous being in the studio because I feel like I’m not as quick as they are and I take a really long time to really think about what I want to write about and how I want to go about doing it structure-wise and stuff like that. So I still enjoy being on my own. I feel like I can be my weird self when it comes to that stuff.

MTV News: You mentioned to Teen Vogue that this next project will be inspired by insecurity. Where does that stem from? Relationships? Self-image? Your career?

Mark: I think it’s all of those things, really. I definitely have moments where I’m like, am I good enough? Or, self-image, physical appearance, working with other people going into sessions. I definitely have the anxiety of: I am not good enough to be here. All the time. I think that really puts a block on my creativity. I’m slowly but surely learning, and the whole album is about… It has more of a dramatic experience; it happens in three parts. It takes you on this whole little journey of being insecure and then being confident and then being overly-confident. I wanted there to be a lesson in it, and my mom is still accented in a lot of the interludes, and I wanted to have what her advice would be even though I know it probably would’ve been really shitty advice. She was always like, “Just surrender to the problems!” So, yeah, I really wanted to talk about that whole thing, and towards the end, part three is just talking about, I am enough. No matter what, I’m doing the best I can. Something I have to remind myself every day is just stay true to what you believe. A lot of people say, “Just listen to your heart and your intuition,” but sometimes it’s hard to know exactly what that is.

MTV News: Your music is influenced by a range of styles from around the world. You just got back from Europe; I was wondering if you heard anything during your travels that you’re excited to wrap into your next project.

Mark: I will say, I was not a fan of the Lil Nas X song, but we went to Paris, and it was playing everywhere, and I got into it, I really got into that song. I don’t think I’ll be making anything as close to that, but I will say that became a jam, our tour jam theme song. If I were to talk to myself two months ago, or a month ago, I would’ve probably been like, “You are crazy for ever thinking you would like that song.” But I like that song now, so!

MTV News: What was inspiring about that tour for you and connecting with those fans overseas?

Mark: Oh my god, it was so surreal. I thought there were going to be, like, 10 people at some of the shows. But all of them pretty much ended up being sold out. I think we only had one that wasn’t sold out but it was 10 tickets away from being sold out. So it was pretty insane.

The first time I went to Europe I was opening, so it was a completely different experience with the response from the audience. Being at shows where all these people were singing lyrics, I really got emotional performing, especially performing “Monsoon” and having people sing along to that. I couldn’t even sing the song, I had to kinda let them take over a lot of the time.

MTV News: From your last two projects, to this upcoming one, is there any type of growth you’re hoping people will hear? Whether in your sound or your songwriting? Is there anything you’re particularly proud of?

Mark: I’m rapping a little bit on it. So that’s a whole new world for me, honestly. And I wouldn’t call myself a rapper at all because I definitely cannot freestyle. But I get a little angry on it, to a certain extent. Production-wise, I was really interested in — it’s something I never thought I would do — into the whole trap beat world. First it just started off as a joke of me making a beat like that. Then I was like, oh, this is kinda dope. I started doing more beats like that and I ended up rapping on it. So that’s different.

There will be other producers on it as well. It’s going to be a mixture, it’s going to be a collective of me doing it as well as other producers on it. That’s the first project I’ve put out that other people have touched. That’s a little scary for me. But it still has the old, minimalistic sound that I have. Then there’s some songs that are full and big and they “go hard,” as they would say. [Laughs]

MTV News: Are there any other collaborators on it apart from Gitelman and Wyatt who you want to shout out?

Mark: Oh, Timbaland!

MTV News: Really?

Mark: Oh, that I’m working with?

MTV News: Yeah, yeah.

Mark: Oh, no, no, no. I wish! Yeah, Timbaland! The future. I’m manifesting it.

This producer, he’s amazing, he produced “Put You On”: Julian Bunetta. He’s great. He’s going to be helping me with a lot of the tracks that aren’t done yet. Even the ones that have been produced by other producers. He’s kind of doing the whole executive thing on it right now.

MTV News: And Timbaland is for the next project.

Mark: Yes, Timbaland would be great. [Laughs]

This interview has been edited and condensed.

The post Amber Mark On Insecurity, Her Next Album, and Learning to Love Old Town Road appeared first on Gyrlversion.

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airadam · 7 years

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Episode 97 : In A Project Near You

"Permanent. Physical. Suffering."

- Prodigy

The eighth birthday of the podcast, but a rough month in the world. A last-minute change to the selection for this episode opened up the inclusion of some verses by Prodigy of Mobb Deep, who passed away just a few days ago. On top of the musical tribute, the title and artwork of this episode are inspired by Prodigy quotes from two different cuts - "G.O.D Pt. III" and "Mac 10 Handle" respectively. As always with a birthday episode, I like to break some favourites out, and I think that there are some classic mixes to be heard this month. Let me know what you think!

PS - If you got a copy of the podcast last month (ep.96) with the repeated "pull it up selector" sample before the first voiceover, it got fixed within the first few hours, so if you re-download it's gone. Maybe the broken version is a virtual collector's item? ;)

Playlist/Notes

Nas : The World Is Yours (Tip Mix)

One of the all-time great remixes, and one of a track which was a classic to begin with! Q-Tip comes through with a stripped down beat headlined by absolutely perfect boom-bap drums, and Nas slightly changes the lyrics from the original version heard on "Illmatic". While we're here - everyone who listens to this podcast should have heard "Illmatic" at least once. It's an unmissable landmark.

Non Phixion : 5 Boros (Remix 'Instrumental')

Ok, let me get this out of the way - we DJs don't want your "TV Track". Just give us a plain instrumental, without adlibs and hooks, and we're good. This beat is a prime example of one I'd like a clean copy of - DR Period with an absolute monster which is streets ahead of the Necro-produced original. The vocal version appeared on the show all the way back on episode 13, and it's well worth going back for a listen!

IAM ft. Sunz of Man : La Saga

I think this is one that most people won't know, and understandably so. I came across this on "Yo! MTV Raps" many moons ago and was surprised by two things; firstly, that this French crew had got a Wu-Fam feature at a time when that was a rare thing, and secondly - how amazingly extravagant the video production was! The episode 68 notes alluded to this one, which I was saving for a special occasion. I got this on the "Le Flow" compilation of French Hip-Hop, but it's originally from the album "L'ecole Du Micro L'argent".

Group Home : Up Against The Wall (Getaway Car Mix)

Another classic 90s remix, appearing on one of DJ Premier's finest projects, the debut Group Home album "Livin' Proof". Those drums, that piano - perfection. Group Home might not have been the greatest MCs in the world (although I do think Lil' Dap is generally underrated), this album got the most out of them.

Royal Flush : Can't Help It

A great tune from the "Ghetto Millionaire" album. Prince Kaysaan on the beat bringing some 80s soul flavour to the beat, filtering down to the bassline during the verses in that early-mid 90s style with the slapping drums to match! On the mic, Royal Flush is kind of laid back in the style of a Mic Geronimo, and Khadejia reworks Michael Jackson on the hook. Here for it.

Prodigy : You Can Never Feel My Pain

I almost played this on the show a couple of times this year, but it just didn't fit the mixes. With the passing of Prodigy this month, I asked a few people if they thought it'd be appropriate to include it this episode, and everyone agreed. A great closer to P's first solo album, "H.N.I.C", this is an extraordinary track where he goes in depth about his lifelong battle with Sickle-Cell Anaemia, a blood disease primarily found in Black and other tropic-originating people. The lyrics feature what could be regarded as some shots at 2Pac, which likely stemmed from Pac's entirely unwarranted mocking of Prodigy's illness on "Hit 'Em Up". Ric Rude's production is a great backdrop for an intensely personal song.

Mobb Deep : Temperature's Rising

For most people, it's "Shook Ones, Pt. 2", but this is my personal favourite track on the second (yes, second) Mobb Deep album "The Infamous". Lyrically it's as dark as you'd expect from the Queensbridge duo - based on the true story of Havoc's now late brother, who had been on the run for murder - but musically, it's so smooth. This was Q-Tip at for me, the height of his producing powers, alongside the Mobb. The drums bang hard and then the beautiful Patrice Rushen sample comes in, and Crystal Johnson's hook tops it all off. Prodigy, Havoc, Q-Tip and Crystal created a classic.

Yadava : For Peace

Time to chill things out for a little while! Yadava, resident and co-founder of the Manchester night "So Flute" cooks up something fresh and clean for the "Manchester With Love" compilation, a mammoth gathering of music from the city which is raising money for the Red Cross "We Love Manchester" emergency fund. With a cause like that, and a package of 226 tracks for a minimum donation of £10, I can't recommend highly enough that you get a copy!

Chaka Khan : I Feel For You

Trivia for you - the repeated triggering of Melle Mel saying "Chaka Khan" at the start was a mistake that sounded good, so they stayed with it! This is an absolute monster of a record, with star quality at every turn. For one, Chaka Khan was already a legendary singer at this point, primarily for fronting the funk group Rufus. Featuring in the band, you had some guy called Stevie playing the harmonica (you may have heard of him), and David Frank of The System on the synths. That's not even counting Melle Mel's opening bars. Finally, this song was written by Prince, and actually recorded by him on his second album. Rebbie Jackson and The Pointer Sisters also recorded versions, but which is the one that gets the play? This. Fire.

Suga Free : Hello, Hello, Hello

Sorry Lionel and Adele, but this is in fact the best song with only the word "Hello" in the title ;) "Hello, hello, hello" could easily have been the epigraph for an episode just because of how fly Free's delivery is! Typically outrageous in both ways on the mic, he just slays this old-school flavoured beat from Casino on the "Sunday School" LP.

Clipse ft. Keri Hilson : All Eyes On Me

I cannot work out why this song from "Til The Casket Drops" never got a single release with a video. The Neptunes on production cooked up a beat here which could easily have done well in the clubs, and has been used on many a dance routine! One of the high points of this track is the first line of the hook; I'm not sure if it's intentional, but Keri Hilson delivers it kind of void of emotion - and it works. Maybe it's just me?

Run The Jewels : Call Ticketron

This cut from "RTJ3" has been powering me through skipping (or "jump rope", as some call it) workouts at the gym over the last few months. Crazy hectic, full of energy - if they ever did play at MSG, the place would go nuts over this one!

Miguel Migs ft. Aya : The Distance (Balcazar & Sordo Remix)

The original version of "The Distance" from "Outside The Skyline" is a beauty, and almost got included here, but when I remembered this remix and tried the blend out...it had to be the choice. I do wish they'd used "into the distance" from the original hook here, but that's my only complaint. Aya's vocals are always smooth as silk, and is a great accompaniment to the cold (in a good way), electronic instrumental. Definitely worth checking the remixes release if this kind of thing is your bag!

Trae The Truth : Open Up Tha Trunk

Slow, dark, unnecessarily menacing? Sign me up! Freestyle from the "Another 48 Hours" project by Trae which, as the title suggests, was apparently completed in just two days. Moxiii and Watson The Great come through with an insanely gloomy beat, with the slowed vocal sample for the hook making it sound even more claustrophobic. Teenage me had never heard beats like this, but was trying to make them - would have loved this!

Curren$y : Take You Higher

Cool & Dre go to town with the sample warping and filter tricks right here for the opener of the "Andretti 11/30" mixtape! Curren$y goes with a common theme of his - smoking up and getting lifted. Nothing complicated lyrically, and he cedes control of the track after just one verse to let the producers show off, which is a smart decision. When you've said all there is to say, why not step back?

Corinne Bailey Rae : Taken By Dreams

Leeds! It's been special to see Corinne Bailey Rae's career continue to build, and her latest album, "The Heart Speaks In Whispers" is a worthy addition to her catalogue. I love the way this track opens as a quite acoustic number, then brings in a wave of other elements before settling back into stillness at the end; great production by Corinne and Steven Brown. And if you ever get chance to see her perform live, do.

Wretch 32 ft.Varren Wade, Bobii Lewis & Avelino : Open Conversation & Mark Duggan

The man Mr Mari put me up on Wretch 32 a few months back and after doing a little listening, this went into headphone rotation and I was searching for a way to work it into the show. Wretch 32 started his career in the grime scene before transitioning over to more of a Hip-Hop sensibility, and his "Growing Over Life" album is a considered piece of work. This track, as he describes it, starts as very much like pages from his diary, with feelings and details that many will be able to relate to. When he starts talking about Mark Duggan, bear in mind that this is someone from his area, someone he actually went to school with - not just a person on the news. The track runs slightly short here, but it's definitely worth hearing the whole thing.

Beyoncé : Sorry (Instrumental)

Had to do a little looping and chopping to get enough of an instrumental bed to fit here, just using the intro which I think is killer. Wynter Gordon, Melo-X, Beyonce, Hit-Boy, and Stuart White are all credited with the production of this cut from the "Lemonade" album.

Oddisee : Like Really

Sometimes, you look at the madness out here, that's your reaction. Taken from Oddisee's latest album "The Iceberg", this was a track I first heard live and very much benefits from the input of live instrumentalists. Oddisee has always been a quality artist since his days working with people like DJ Jazzy Jeff and Foreign Exchange, but I never saw him expanding as much as he has done; it's a testament to hard work and commitment to the art, not the fame.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

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deadcactuswalking · 3 years

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REVIEWING THE CHARTS: 09/01/2021 (Justin Bieber, SZA, Jason Derulo)

Happy New Year, everyone, and welcome to 2021 on REVIEIWNG THE CHARTS – or I guess you could call it “Season 4”. I’m going into this year with cautious optimism – that goes for pop music, mind you, and not actual world events which I suspect will just get even direr as the years go on. For 2021 on the charts, I’m hopeful and I hope that’ll show in this next year as I’m in a better place than ever, partly thanks to my decision to renew this series in the Autumn, and we’ve got a busy week – or year – ahead of us. I can keep up with new releases every Friday like I used to and generally kick myself back into a routine with all these musical hobbies. I stay cautious in my optimism for 2021’s pop music because frankly, looking at this top 20, I can’t say I like a lot of this at all. I mean, I guess I’m fond of some of these tracks but I suspect a fair few of these songs to have their last shred of success this Winter and not turn out as year-long hits. I can’t say that for our #1, which is “Sweet Melody” by newly-collapsed girl group Little Mix, the fifth credited #1 for the group and their first since 2016’s “Shout Out to My Ex”. Admittedly, I feel like Little Mix ends here, hopefully with a bang as this was one of the few bonafide smash hits that lasted through Christmas, and I see it lasting a couple more weeks at #1 as a good send-off because I don’t predict the band getting back together without Jesy anytime soon... not that I care about pop-group politics, of course. On that note, let’s divert to our rundown. Welcome back to REVIEWING THE CHARTS.

Rundown

There is a single song in the UK Top 75 – which is what I cover – that has not gained, returned or entered for its first week, and that’s “Love is a Compass” by Griff from Disney’s Christmas advert down to #50 – it’ll be gone next week, but I honestly don’t really understand why it lasted an extra week. Maybe Soul and Disney+ had something to do with it, because I cannot see this getting consistent streams. Otherwise, look: I’m not mentioning every single drop-out because I would just be repeating every single drop-out because I would just be repeating all of the Christmas songs that I’ve already listed every single week since late November. I will say this: “Last Christmas” by Wham!, last week’s #1, is gone from the top 75, alongside “All I Want for Christmas is You” by Mariah Carey, “This Christmas” by Jess Glynne, “Rockin’ Around the Christmas Tree” by Justin Bieber, “Fairytale of New York” by the Pogues featuring the late Kirsty MacColl, “Merry Christmas Everyone” by Shakin’ Stevens, “Step into Christmas” by Elton John, “Do They Know it’s Christmas?” by Band Aid and “It’s Beginning to Look a Lot Like Christmas” by Michael Bublé are all gone despite staying in the top 10 in last week’s awkward grouping of holiday trite and regular pop. Everything else I’ve said over the last few weeks in the returning entries and gains sections, Christmas-wise, is gone, and I don’t want to list any other drop-outs, including even all of last week’s new arrivals. The only other notable song dropping off from the chart that’s not explicitly Christmas-related is Liam Gallagher’s charity single “All You’re Dreaming Of”, and that’s not exactly a surprise to anyone. Okay, so for our returning entries and gains, I’ll list them in some kind of janky order. Starting with returning entries, the category that fits most of these songs is: “year-long hits that have had one final and brief second wind after the holiday season that will later be replaced as Spring comes”. This includes “Giants” by Dermot Kennedy at #75, “Breaking Me” by Topic and A75 at #74, “Roses” by SAINt JHN and remixed by Imanbek at #71, “Rain on Me” by Lady Gaga and Ariana Grande at #70, “ROCKSTAR” by DaBaby featuring Roddy Ricch at #68, “Don’t Start Now” by Dua Lipa at #67, “Lighter” by Nathan Dawe and KSI at #61, “Ain’t it Different” by Headie One featuring AJ Tracey and Stormzy at #60, “Savage Love (Laxed – Siren Beat)” by Jawsh 685 and Jason Derulo and remixed by BTS at #58, “Before You Go” by Lewis Capaldi at #56, “WAP” by Cardi B and Megan Thee Stallion at #47, “Take You Dancing” by Jason Derulo at #46, “Watermelon Sugar” by Harry Styles at #41 and “Looking for Me” by Paul Woolford and Diplo featuring Kareen Lomax at #39. Our next category is: “really old – and massive - songs riding off the coattails of a weak chart for a cheap additional week to add to their repertoire”. This includes “Shallow” by Lady Gaga and Bradley Cooper at #73, “Baby Shark” by Pinkfong at #72, “Perfect” by Ed Sheeran at #66, “Dreams” by Fleetwood Mac at #64, “Someone You Loved” by Lewis Capaldi at #45, “Dance Monkey” by Tones and I at #38, and I guess even “Train Wreck” by James Arthur returning big at #18. Our third category consists of: “mostly more recent and decently-sized hits coming back because they’re still popular but won’t be re-peaking any time soon”. These include “Gnat” by Eminem at #69 (although you’d be stretching to call that a hit exactly – would have been without Christmas), “Show Out” by Kid Cudi, the late Pop Smoke and Skepta at #62, “Lasting Lover” by Sigala and James Arthur at #57, “Princess Cuts” by Headie One featuring Young T & Bugsey at #55, “no body, no crime” by Taylor Swift featuring HAIM at #54, “pov” by Ariana Grande at #52, “Tick Tock” by Clean Bandit and Mabel featuring 24kGoldn at #51, “Diamonds” by Sam Smith at #49, “Body” by Megan Thee Stallion at #44, “Plugged In Freestyle” by A92 and Fumez the Engineer at #43, “champagne problems” by Taylor Swift at #42, “What You Know Bout Love” by the late Pop Smoke at #36, “i miss u” by Jax Jones and Au/Ra at #34, “See Nobody” by Wes Nelson and Hardy Caprio at #33 and “Lonely” by Justin Bieber and benny blanco at #32. Our last category consists of songs that returned and peaked this week, including many in the top 40. These include “You’re Mines Still” by Yung Bleu and remixed by Drake at #59, “All Girls are the Same” by the late Juice WRLD at #53 (still very strange to see that song from 2017 peak nearly four years later), “Heat Waves” by Glass Animals at #48, “SO DONE” by The Kid LAROI at #40 (more on him later), “The Business” by Tiesto at #31 and “Golden” by Harry Styles at #26. These are the most important returns because they signify what could be coming down the line for our genuine Winter hit parade, or at least the post-Christmas half of it. What might better show this are our gains, however, as these songs were sticking through the holiday season and took advantage of it this week to poke through even higher in the top 40 and often top 10. We have “Forever Young” by Becky Hill at #35, “Midnight Sky” by Miley Cyrus at #29, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV at #27 (as soon as I can stop saying that full song name the better), “Monster” by Shawn Mendes and Justin Bieber at #25, “No Time for Tears” by Nathan Dawe and Little Mix at #24, “HOLIDAY” by Lil Nas X ironically up to #23, “positions” by Ariana Grande at #22, “Holy” by Justin Bieber featuring Chance the Rapper at #21, “Loading” by Central Cee (still growing on me) at #20, “Head & Heart” by Joel Corry and MNEK at #19, “Dynamite” by BTS at #17, “Mood” by 24kGoldn and iann dior at #16, “Therefore I Am” by Billie Eilish at #15, “Really Love” by KSI featuring Craig David and the Digital Farm Animals at #14, “Blinding Lights” by the Weeknd still here at #13, “willow” by Taylor Swift at #12, “Prisoner” by Miley Cyrus featuring Dua Lipa at #11, “Paradise” by MEDUZA and Dermot Kennedy at #10, “you broke me first” by Tate McRae at #9, “34+35” by Ariana Grande at #8 and “WITHOUT YOU” by The Kid LAROI at #7. I can reassure you I’m overjoyed about that last one – not because the song is good, quite the opposite, I just like having easy targets ready for the end of the year when I actually end up doing a worst list. Oh, and that’s not the end of it: “Get Out My Head” by Shane Codd is at #6, “Levitating” by Dua Lipa and remixed by DaBaby is at #5, “Whoopty” by CJ is somehow at #3 and finally, “Afterglow” by Ed Sheeran is at #2. We already mentioned “Sweet Melody”, so now finally, it’s on to our new arrivals. What did you gain from reading me list sixty-odd songs in rapid succession with minimal commentary? Nothing. What did I gain from it? Whatever’s just above nothing, but as is the UK Singles Chart in early January.

NEW ARRIVALS

#65 – “Your New Boyfriend” – Wilbur Soot

Produced by Wilbur Soot

Before I put two and two together, I was incredibly confused to who this guy was and why he was charting – he’s doing particularly well on Spotify for this indie singer-songwriter, right? I did one quick Google search – literally typing in “Who is Wilbur Soot” – and soon found out that I actually already know the guy from “SootHouse”, a YouTube channel I think I might even be subscribed to. Huh, I guess that shows how faceless social media platforms can be – his name is in the videos and I should have assumed from “Soot” but that missed me until now. Right now he’s part of that whole worryingly popular group of content creators that tread the very thin line separating Minecraft let’s-players from commentary YouTubers and Twitch streamers from paedophiles. I’m too old to understand any of this garbage but from what I see trending on Twitter all the time, it seems toxic and frankly I don’t want in any part of that. I don’t want to have my grandparents’ graduation photos leaked to the Internet alongside my address, thank you very much, so I think I’ll distance myself from the whole “Internet celebrity” and just talk about the music. This is the last in a trilogy of E-boy indie-pop songs, because of Goddamn course that exists. Song number-one, “I’m in Love with an E-Girl” is a dreary acoustic duet that forgets that comedy songs are supposed to be fun or witty, relying on obscure inside jokes and references to recently-outed paedophiles. I do like some of the jabs later on about romanticisation of mental illness and Chevy’s voice is really nice, whoever that is, but it’s too little too late to be a worthwhile track. Now for song #2, “Internet Ruined Me”, which is a slightly livelier rendition of what is pretty much the same song, with lyrical gems like, “My Twitter feed’s like my brain ‘cause I have it on dark mode.” At least it feels like a more honest attempt at a song, but song #3, “Your New Boyfriend”, the one that’s charting, is obviously the most realised out of these acoustic demo skits, with some pretty sweet piano melodies and Wilbur getting into his comically struggling high register to depict his naivety as a teenager when attempting to get into both a long-term relationship and career as an entertainer. Sure, the song’s janky and awkward, but the chorus has a genuine punk groove, even if it wants to stop to interject ad-libs for no reason and kind of ruin whatever momentum is there in the first place. By the second verse, the punchlines devolve to “No homo, though” and though I do like how those horns sound, they are somewhat clouded in a messy mix that does not help Wilbur out vocally at all. Chevy’s background vocals do help here and add a lot to the floaty atmosphere of the song, and, okay, I’ll admit: the song’s good, if a bit ridiculous and almost Weezer-like in lyrical content... but hey, I like Pinkerton, and there’s certainly enough pointless noise in this song to fit the criteria, so... Goddamn it, I have to recommend this one. Let’s just date this episode – and song – even further by requesting Carson and Pyrocynical hop on a nonce-rock remix, perhaps. Bring Dream along too.

#63 – “Reminds Me of You” – The Kid LAROI and Juice WRLD

Produced by Aaron Joseph, Theron Thomas, Sam Sumser, Sean Small and Dr. Luke

Oh, and speaking of sex crimes by men in places of power, welcome back, Loctor Duke, Tyson Trax, or as I prefer, (alleged) rapist. I don’t like to get too moralistic on this show because it is about the music but I cannot think of any person who would in their right mind know of “Praying” by Kesha and still want to collaborate with this waste of space who uses his monopoly on pop songwriting to continue raking in cash from vulnerable young singers, to the point where I’m not sure if I can truly blame artists for ending up with Dr. Luke production or writing credits... oh, wait, yes, I can! I don’t let Saweetie, Doja Cat or even Kim Petras off the hook for actively collaborating with Luke seemingly in defiance of, you know, moral decency, so I definitely won’t give The Kid LAROI a pass, especially if he and the label are going to use this as another opportunity to milk the passing of a genuinely talented man in Jarad Higgins, or the late Juice WRLD, for the sake of a chart hit for this bumbling Australian wannabe and a sexual predator. This is not the first time, either, but I’ll admit the story gets fuzzy, as Kim Petras did reveal that this performance from Juice was in the studio as she was recording a song, supposedly, that is – I have no hesitation to say I think stories could be made up by record labels to make whoever’s involved look a tiny bit less of an ass. Oh, and by the way, this isn’t even originally a Kid LAROI and Juice WRLD track. Let’s talk about “Reminds Me”, a pretty mediocre Kim Petras song where she blatantly imitates Juice on a trap-pop instrumental that’s just pitiful, as is her vocal delivery that makes lyrics Juice clearly wrote unconvincing. Kim Petras isn’t doing a homicide, I mean, I hope she isn’t. So now we’ve got a “reimagination”, “revamp”, “remake” – or to put it realistically, remix – of an already worthless, disposable song made by a sexual predator and its enablers, spat on by The Kid LAROI’s unforgivably gross delivery where he essentially covers the Kim Petras song and does even a worse job of it, mixed bizarrely – especially in the vocal department – and topped off with a tacked-on Juice WRLD demo verse, so lazily put together that they just repeat his verse to awkwardly lead into an anti-climactic chorus where Juice is nowhere to be found. Everyone involved in the making of this song lost whatever shred of respect I had for them in the first place for putting this out – and that doesn’t include Juice, who’s clearly being mismanaged post-mortem. If The Kid LAROI sticks around, don’t forget this and don’t forget everything he’s done – intentionally or unintentionally – to heartlessly pinch pennies out of Juice’s legacy.

#37 – “Goosebumps” – Hvme

Produced by HVME

I’d make the easy, cliché joke that this isn’t living up to “goosebumps” by Travis Scott featuring Kendrick Lamar, but... this IS “goosebumps” by Travis Scott featuring Kendrick Lamar. HVME is this boring faceless nobody—I mean, “mysterious” Spanish DJ who made a garbage deep house remix of a pretty decent Travis Scott song, but not using the original vocals and stems, which would have probably made this listenable, but instead covering the song himself, stripping of it of Travis’ original energy that carried the eerie trap instrumental and pretty pathetically attempting to replicate the “Straight up!” ad-lib. The mix is fine but puts way too much emphasis on all the swooshing and nothingness synths that do little to get in the way of the typical pumping bass-line you hear in this type of house, and, yeah, this is pitiful once again and reeks of no-effort dance music made in a bedroom you wouldn’t even hear bumped in clubs. He doesn’t even try and re-sing Kendrick’s verse – good – and his attempts at picking up Travis’ masterful flow from the original is comical at best, to the point where I genuinely laughed out loud as his measly “brr-brr-brr” sound effects. I don’t understand why this is so high, yet it has 112 million Spotify streams as his only release on the platform, and I can only assume this is thanks to Ministry of Sound and some Lithuanian record label (don’t ask; I don’t know either). I don’t see this surviving January, thankfully, so you can say goodbye to this guy and his awful, awful cover for good... hopefully.

#30 – “Love Not War (The Tampa Beat)” – Jason Derulo and Nuka

Produced by Nuka

I don’t think there’s any “Tampa Beat” to speak of so Jason Derulo, are you just putting “(Blank) Beat” at the end of all of your songs now? What do you even gain from that? Except there is a “Tampa Beat” – unlike Jawsh 685’s original track, however, it wasn’t called that. Nuka is a New Caledonian producer and she made a song called “4 Bryleans (WayzRmx2018)”. Alright, well now it’s the “Tampa” beat, because I’m sure Florida is close enough to a French territory in Oceania, right? Maybe he’s talking about the ghost town in Australia, or the... small Transylvanian mountain. Okay, I’ll stop kidding myself: this title is complete nonsense. At least he asked for the sample before using it this time, and if Derulo makes careers out of this, then I’ll be glad for these underground Oceanian producers. The difference is here it just feels lazy and co-opting a style he’s clearly not in tune with for the sake of hits for himself. It would make more sense for him to keep on working with Jawsh if he really had good intentions for producers out there in the Pacific. Anyway, much like the title, this song, produced by someone who claims to make the best cheesecake in the Pacific (which I wouldn’t think is that hard of an award to claim), is nonsensical. It’s stuck in 2014 with gross synth leads, clipping percussion and finger-snaps straight out of DJ Mustard’s older stuff, along with what I guess is the sound of the Pacific: Jason Derulo doing fake accents over incessant horns and over-produced garbage that seems like its sole purpose is to annoy... and I liked “Savage Love”! I think my favourite part of this production is when he pitches the horn line down for the verse and then it comes back mid-way through as annoying as ever, even if this mix is crowded enough for you to just barely ignore it. Derulo isn’t doing much here either other than straining his voice for a belt no-one asked for and having a complete dissonance between verse and chorus in terms of lyrical content. Oh, and there’s a copious amount of remixes that are all garbage. The instrumental’s on Spotify too under “Waterfall”, so I guess that adds another name to the list of names this song has for no reason. At least with “Savage Love” I got to hear BTS drop F-bombs, this is just worthless.

#28 – “Good Days” – SZA

Produced by Los Hendrix, Nascent and Carter Lang

I came into this episode all optimistic and ended up just moaning about sex crimes and Jason Derulo but I think if there’s going to be any shred of true quality from our new arrivals, it’s the new SZA track that’s shaping up to be genuinely big organically on radio and streaming, “Good Days”, from that new album, whenever Top decides he’s going to let her release it. I’m not the biggest fan of SZA; you probably don’t remember that she ended up on one of my worst lists a couple years back, although that’s mostly at the fault of Travis Scott more than her. This doesn’t mean I’m not excited to hear from her, though I did like some of the stuff off of CTRL, particularly “Prom” and “20 Something”... and, yeah, in terms of what I want from contemporary R&B, I’m not mad at “Good Days” at all, though it’s going to take a lot of growing on me because I immediately hate this mix and production, which relies on slick, lo-fi guitars being drowned out by overweight percussion that sounds organic but pretty unfitting and awkward amongst the reverb-drenched vocals and unrecognisable mix that doesn’t compliment SZA’s at times awkward delivery. That’s a shame to say because I think she harmonises well with co-writer Jacob Collier, especially on the chorus, where she wishes for good days ahead, which is lyrical content I can get behind: coming out of a bad place and knowing you have no authority over your future but wishing for good days regardless. When the synths come in after the third verse at about three minutes and SZA’s voice disappears from the mix, becoming less overbearing than it is, I can appreciate the song more and especially when that final chorus comes in... except there isn’t a final chorus to leave this song off with much of an impact, rather just a tacked-on instrumental section that felt like Jacob Collier was tasked with just extending a snippet, which given how the song was teased in “Hit Different”, might actually be the case. I like the lyrics a lot, and do think it picks up after the song practically ends, but I’m not sure about this right now, and could see it growing on me as good days either become more imminent or drift even further away.

#4 – “Anyone” – Justin Bieber

Produced by watt, The Monsters & Strangerz and Jon Bellion

I’ve done a lot of writing and reviewing this week so I’m glad I can sum this up in a few sentences. Justin Bieber is an overexposed hack who I cannot feel any emotional connection towards at all, so him continuing to make any art is moot. This song has a loading screen of a synth melody, and that’s before that really ugly chorus that Bieber really can’t save with his Auto-Tuned whine of a voice, alongside acoustic guitars that clearly do not blend well. Jon Bellion’s production at the end of this just barely saves it by doing some kind of 180 shift into slow synth-pop, clearly coasting off of the Weeknd’s success in the same style without realising what made his record worthwhile. Camila Cabello recorded a demo that I’m glad isn’t the official version because her squealing would not sound good here either; really, I think Bellion could have kept this to himself but he knows he would put a lot more effort and character into his own lyrics than this – he would also write an actual bridge for his own album, I’d hope. It isn’t catchy, it isn’t intriguing and it is gutless, like Bieber has been for the past two album cycles and I guess it’s not changing this time.

Conclusion

What a downer for my optimism about pop music going forward this was! Even the best songs here I feel mostly ambivalent on, to the point where I can give Wilbur Soot of all people Best of the Week for “Your New Boyfriend”, which shocks me since I thought SZA would run with it, although “Good Days” does grab the Honourable Mention. Worst of the Week should be a toss-up if it weren’t for the fact that The Kid LAROI exists so he can get that for “Reminds Me of You” featuring the mangled remnants of whatever’s left of the late Juice WRLD’s Google Drive folders full of demos and leaks. I suppose Dishonourable Mention can go to HVNE for “Goosebumps”, but I’d understand it for anything else here. Here’s this week’s top 10:

Follow me on Twitter @cactusinthebank for more rambling – I swear I’m not usually this angry – and I can’t really predict anything going forward either, other than unfortunately more Dr. Luke, but we’ll see what the charts decide to bring us next Saturday when it comes. I’ll see you next week.

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deadcactuswalking · 3 years

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REVIEWING THE CHARTS: 26/12/2020 (LadBaby, Boris Johnson, Ed Sheeran)

It’s Boxing Day in the UK as I write this and I’m pretty tired but we still have to review those charts regardless, especially this chart as this is the Christmas chart – at least it’s being paraded around as such – and hence we have a Christmas #1. For the third year in a row, family vlogger, pseudo-comedian and amateur musician, not to be confused with DaBaby, Mark Ian Hoyle – more commonly known as “LadBaby”, has bagged the #1 for the holiday season. Every time I’ve covered the Christmas #1 it has been this guy and, yeah, I’m tired of it. At least this year he felt some stiff competition, and hey, the songs’ proceeds do go to charity. Oh, yeah, and this guy is the third act to have three Christmas #1s in a row, putting this nobody from Nottingham with a barebones Wikipedia page and a couple million YouTube subscribers on the level of the Beatles and Spice Girls. God, the UK Singles Chart never fails to amaze me. Anyway, that’s arguably not even the biggest story here so let’s start REVIEWING THE CHARTS.

Rundown

As I said before, this is the “Christmas week” so throughout the UK Top 75 there are a lot of holiday songs re-peaking or reaching new peaks, before dropping off entirely the next week. Let’s start as we always do by listing the drop-outs from the chart, of which there are quite a few notable ones. Most of our top 40 debuts from last week are gone, like Taylor Swift’s “champagne problems” and “no body, no crime” featuring HAIM, as well as “Show Out” by Kid Cudi, the late Pop Smoke and Skepta. We can also say goodbye to “Sunflower (Spider-Man: Into the Spider-Verse)” by Post Malone and Swae Lee, finally after 54 weeks and a surprise return earlier this month, in addition to other top 10 hits like “you broke me first” by Tate McRae, “See Nobody” by Wes Nelson and Hardy Caprio and “What You Know Bout Love” also by Pop Smoke, as well as some more minor hits like “Wonder” by Shawn Mendes, “Lonely” by Justin Bieber and benny blanco, “Train Wreck” by James Arthur, “Golden” by Harry Styles and “Plugged in Freestyle” by A92 and Fumez the Engineer, but I can see almost all of these rebounding hard next week so I don’t think there’s much to worry about here. For fallers, since Christmas has really consumed everything about this chart this week, we have some big ones that’ll find themselves back in the top 10 or at least top 20 next week like “positions” by Ariana Grande at #19 (the first non-Christmas non-debut song to appear on the chart, by the way), “Sweet Melody” by Little Mix at #20, “Whoopty” by CJ at #22, “34+35” by Ariana Grande at #28, “WITHOUT YOU” by The Kid LAROI at #31, “Prisoner” by Miley Cyrus and Dua Lipa at #35 alongside “Midnight Sky” also by Miley at #36, “willow” by Taylor Swift off the debut to #37, “Get Out My Head” by Shane Codd at #38 and “Paradise” by MEDUZA and Dermot Kennedy. We also have “Therefore I Am” by Billie Eilish at #43, “Really Love” by KSI featuring Craig David and Digital Farm Animals at #45, even “HOLIDAY” by Lil Nas X at #49, “Mood” by 24kGoldn featuring iann dior at #54, “Loading” by Central Cee at #59, “Head & Heart” by Joel Corry and MNEK at #60, “Monster” by Shawn Mendes and Justin Bieber at #64, “Blinding Lights” by the Weeknd at #66, “Dynamite” by BTS at #67, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV at #72, “Levitating” by Dua Lipa with the biggest fall down to #73 and finally “No Time for Tears” by Nathan Dawe and Little Mix at #74. To put the dominance of holiday music on the charts in perspective, if we take the songs that are not either explicitly Christmas-related or a clear Christmas #1 campaign (i.e. LadBaby), the song at #38 would be at #10 and our #1 would be “positions” by Ariana Grande at #19. “Whoopty” by CJ, that entered the top 10 last week and dropped to #22 this week, would be at #3. There are 11 songs in the top 40 that never made an effort to take advantage of the holiday season. When we get into some of our debuts, it’ll be even clearer how big Christmas is in British pop music. Anyway, let’s skim through our gains and returning entries, most of which are Christmas or Christmas-related. For returning entries, we have the comically awful “Lonely this Christmas” by Mud at #71, last year’s scam attempt at a Christmas #1, “River” by Ellie Goulding at #69, “The Christmas Song (A Merry Christmas to You)” by Nat King Cole at #63 (which I’d appreciate more in the top 20 like it is in the US every year – this is a classic), “2000 Miles” by the Pretenders at #62 (again, incredible song that deserves a higher holiday peak each year), “Christmas (Baby Please Come Home)” by Darlene Love at #58, “Santa’s Coming for Us” by Sia at #55, “Have Yourself a Merry Little Christmas” by Sam Smith at #53 and for whatever reason, “Holy” by Justin Bieber featuring Chance the Rapper at #41. In terms of notable gains – and I stress notable, since a lot of higher-up Christmas songs had small gains but still good performance - we have “Santa Claus is Coming to Town” by the Jackson 5 at #57, “Let it Snow! Let it Snow! Let it Snow!” by Frank Sinatra at #56, “White Christmas” by Bing Crosby at #52, “Baby it’s Cold Outside” by Brett Eldredge and Meghan Trainor at #51, “Forever Young” by Becky Hill at #50 (both off of the debut), “Baby it’s Cold Outside” AGAIN by Michael Bublé and Idina Menzel at #47, “Love is a Compass” by Griff at #46, “Feliz Navidad” by Jose Feliciano at #44, “Cozy Little Christmas” by Katy Perry at #42, “Let it Snow! Let it Snow! Let it Snow!” AGAIN by Dean Martin at #39, “Sleigh Ride” by the Ronettes at #34, “Christmas Lights” by Coldplay at #33, “Santa Baby” by Kylie Minogue at #32, “Mistletoe” by Justin Bieber at #29, “Jingle Bell Rock” by Bobby Helms at #27, “Wonderful Christmastime” by Paul McCartney at #26, “Holly Jolly Christmas” by Michael Bublé at #25, “All You’re Dreaming Of” by Liam Gallagher at #24 (thanks to a Christmas #1 campaign that crashed and failed), “It’s the Most Wonderful Time of the Year” by Andy Williams at #23, “Happy Xmas (War is Over)” by John Lennon and Yoko Ono with the Plastic Ono Band featuring the Harlem Community Choir at #21, “One More Sleep” by Leona Lewis at #18, “Merry Xmas Everybody” by Slade at #17, “Underneath the Tree” by Kelly Clarkson at #15, and finally, “Rockin’ Around the Christmas Tree” by Justin Bieber illegitimately notching a spot in the top 10 at #8. Finally, we can get onto the new arrivals, although something about this next one tells me that we won’t be in line for anything all that good.

NEW ARRIVALS

#70 – “I’ll be Home” – Meghan Trainor

Produced by Meghan Trainor

...for Christmas. She’ll be home for Christmas. I guess she just can’t finish sentences, even though her cover art has the full title. Anyway, this is a 2014 original Christmas song that went nowhere except Sweden. It’s not anything like the Bing Crosby and wasn’t nearly as successful, mostly because it’s a jingly, inoffensive ballad tacked onto a silly Christmas EP that also features Fifth Harmony and Fiona Apple of all people – who probably should have charted her track instead – as well as the deluxe edition of that debut record Title that nobody liked. At least in this, she’s not going for a faux-retro style, or at least one that I can find the inspiration for, and is just singing over this oddly jaunty piano melody – which sounds pretty albeit bland – as well as some swells of strings and acoustic guitar that do work sonically. The content implies that Meghan Trainor is in contact with Santa Claus personally, and that he gave her the advice to be home with her lover this Christmas and... that’s why this charted, isn’t it? Well, it’s not her fault – it’s not a “stuck with u” moment, but it is dodgy that she decided to put this on her own Christmas record that was released in October of this year, which can’t seem unintentional. I’d be lying to say this isn’t a pretty little tune from Trainor and her voice does fit this instrumental, but a jazzy rendition from someone with a deeper, smoother voice, would work wonders with the content. Oh, and that Christmas record features guest appearances from both Earth, Wind & Fire and Seth MacFarlane, as well as her dad, because, you know, sure, 2020.

#65 – “Gnat” – Eminem

Produced by d.a. got that dope

I can’t tell if I’m underestimating Christmas or overestimating Eminem when I say I expected an album bomb – or whatever that equivalent would be in the UK and our land of silly chart rules – from the deluxe edition of his pretty damn terrible album, Music to be Murdered By. This 3/10 trainwreck consists of two hours I’ll never get back of either great beats wasted by Eminem’s corny, stiff flows and painfully unlikeable delivery or obnoxious, unlistenable beats that are dated enough for Eminem to start going on his Relapse “killing women in funny accents” shtick, which was awful then and even worse now when he tries to replicate it. Marshall, you’re 48, and I know that you’re just “messing around” but if you’re going to treat the album as a cinematic masterpiece within the album and its thematic Alfred Hitchcock interludes, you have to understand that the audience will see it as that way as well, so you having fun and being painfully unfunny in the process over cutting-room-floor trap instrumentals cannot slide. At least Kamikaze had some genuine anger and dare I say some actual balls in how it tackled controversy and dissed everyone he could think of off the top of his head. The last record was angry and bitter, this one’s just tired and lazy, and that’s before we get into some of the ugliest bars, instrumentals and cadences Slim Shady’s ever put on record, which is especially present on “Gnat”, a lightweight trap banger with some acoustic guitars not dissimilar to those that would appear on a Lil Baby mixtape, complete with questionable bass mixing and really bad hooks. On the verses, he sends a death threat to Mike Pence, but on the chorus, his bars are “like COVID” because “you get them right off the bat”. I don’t know about you, but in 2020, I don’t want to hear Eminem harmonising with producer tags, making topical and insensitive pandemic references, or spitting sex bars with coughing ad-libs. Before the beat switch, his flows are some of the sloppiest and drawn-out he’s ever used, and yes, I’ll admit, that second beat is a lot better and Em kills it over that instrumental – but only for a brief moment before we have a third beat, which Eminem is pretty great over, especially with that sax and sweet piano keys overlaid with hard 808s and Eminem’s rapid-pace, quick fire flow... and then he raps the chorus again and I want the song to end as quickly as it started – thankfully, it does end rather abruptly. Just wasted potential all throughout – if that beat switch and flow was a guest verse on damn near anyone else’s record (Em has made tracks with Don Toliver of all people, and he could work), this could be great. For now, Em, you know Kris Kristofferson? I think you should Piss Pissofferson. Forever. Look that up, by the way, that’s a lyric on the record because of course it is.

#61 – “In the Bleak Midwinter” – Jamie Cullum

Produced by ???

I had only briefly heard the name “Jamie Cullum” before this, but he is an English jazz-pop singer and pianist who’s basically useless and uninteresting but, hey, at least he has a radio show on BBC Radio 2. Sure, I mean that might have been the reason that Amazon Music picked him up for an exclusive project for which this is the biggest single. It’s not on Spotify, it’s not even on Genius, and it’s barely on YouTube but since it is, I should tell you that this is his first charting single since 2009 and it’s a remarkably uninteresting rendition of a Christmas carol done a lot better by Jacob Collier – and that one’s on Spotify – so yeah, your sleepy piano arrangement and tone that makes you sound like Robbie Williams half the time and Beck the other, doesn’t interest me. Goodbye.

#30 – “Afterglow” – Ed Sheeran

Produced by PARISI, Fred Again and Ed Sheeran

If we inexplicably remove everything Christmas-related on the chart, Eminem’s “Gnat” would have debuted at #20, and this new track from Ed Sheeran, already stunted from being released on an unconventional day, would have hit #5. Regardless of chart position, Ed Sheeran’s back with his first solo single since Divide. Yes, I’m purposefully ignoring that collaborative project he put out in 2019 because as far as I know, it doesn’t exist. At the end of the year, when things are looking as if he could start touring again, Sheeran predictably releases his lead-off single. This song in particular is a heartfelt ballad from Ed to his wife, who he wishes to be there forever and even if they aren’t together at any moment, whether he’s touring or they separate for whatever reason, he’ll “hold on to the afterglow”. I won’t lie, it’s a really sweet and convincingly sold love song from Ed, even if it’s not anything new, it does feel like a different approach since he’s a newly-wed man now. Although I’m not a fan of this somewhat muddy mixing that somehow messes up just a guy and his acoustic guitar, making what should be a really pretty, ethereal and mellow track sound almost ugly, which doesn’t flatter Ed and his limited delivery at all, especially when he starts getting multi-tracked in the second verse and whooshing sound effects of strings pop up in the mix, and, yeah, it just sounds cheap and gross at this point, which is really a waste of incredible content and a great performance from Ed, who sells everything as well as he can. I understand how this is supposed to be down to Earth, so a perfect mix wouldn’t make sense, but if you’re going to make him harmonise with his own background vocals and even show signs of belting, give him some more grandiosity and go full out instead of restraining him so that it just sounds jarring. With a different mix this could be one of Ed’s best tracks since the melodies are on point, the song feels really heart-warming and sincere, especially coming from Ed to his wife, but we won’t get a remaster anytime soon, I imagine, so for now this is just pretty damn good. I love the cover art as well, painted by Ed himself, and released alongside the single as a bit of a Christmas gift to fans, as well as the start of what I’m pretty sure will be a promo cycle. If this is a good peek into what that album will sound like, it’s safe to say I’m more than excited than ever to hear from Ed Sheeran.

#5 – “Boris Johnson is a Fricking Jerk” – Kool & the Gang

Produced by ???

Okay, so the song’s calling Boris Johnson something stronger than a “fricking jerk”, and the song is decidedly not by soul legends Kool & the Gang, although I’d love for that to happen sometime. This is a family show, of course, so we have to take some liberties. This track originates from a comedian from Basildon, Essex of all places, and whilst we don’t know his name, the songwriting credit on Spotify is given to contemporary British poet Wayne Clements so maybe he’s behind this, who knows? Whether he is or not, I can tell you the history behind this comedian’s music, as he has been making crude short singles about controversial topics in British society and politics for a while, including some about Nick Clegg that charted, although never higher than #63. He retired in 2016 but after writing an autobiography, the guy’s back and he released a compilation of punk rock tracks, all of which are small and profane, with a “band” of puppets that I also can’t name. State-controlled Russian television networks – because, sure, again, it’s 2020 – say that he will start touring in 2021, mostly because he’s finally reached that mainstream audience with this family-friendly tune about Boris Johnson. Here’s how Vick Hope and Katie Thistleton introduced it live on air during the mid-week chart reveal.

Now at #19, we've got a track about Boris Johnson that has so many bad words in it, we can't play it on daytime Radio 1.

Ah, you cowards. Wait... Anyway, I’m pretty happy that the British public can stick it to Boris and the heartless Tories that follow him and currently rule the country, even if it is all a bloody stupid joke from an anonymous punk rocker. We can dig into Boris for his failures on Brexit, mishandling of the pandemic, disgraceful reality-star-esque personal life, that he wasn’t even born in the UK yet is basically a nationalist, his history of Islamophobic commentary, his crap excuses for journalism back in the 2000s or even his clown-nose, blonde bowl-cut “hair style” he adopts whilst addressing us on live television feeding us lies and misleading statements that turn into retcons the next time he has to address the nation, whether it be on Brexit or COVID-19 tiers and regulations, both of which are a confusing mess to both sides of Europe that exist to drift us away from where we should be going as a nation, and further into the realm of political party tribalism that we know absolutely does not work in the States and that we mock the Yanks for. We’re more than the sick man of Europe, we are the America of Europe. I guess you could say Ireland is our Canada, but we don’t even have a Mexico to make us look better, we just have other western, central and northern European countries that may be flawed but are far ahead of whatever the hell this shell of a union is in 2020, less than 80 years after the creation of our National Health Service. People will look to pundits and newsreaders like Piers Morgan, entertainers like Phillip Schofield, war veterans and charity-givers like Captain Tom Moore, and even politicians like Boris Johnson, as the “heroes” of Britain’s 2020 but it’s increasingly clear that absolutely no-one is a hero, and it’s the people’s right to be upset. Hence, nearly exactly a year after Boris Johnson cheated his way into power by smear campaigns and elitism, we have this song debuting at #5. Unfortunately, the song doesn’t go into any of that. It just repeats the title in an anthemic – and considerably agreeable – refrain that is an undeniable punk hook. The riffs and guitar work here isn’t of any interest, but the guy’s delivery is powerful and furious, so I’ll give the song credit: it’s not just correct but it’s really good, especially for a one minute runtime. He also released some satirical MIDI-level synth-pop remix with gross Christmas sleigh bells and hi-hat skitters, because, say it with me, it’s 2020. I wouldn’t recommend the album though, it overstays its welcome by the time you get to “Jesus Died of a Stranglewank”.

#1 – “Don’t Stop Me Eatin’” – LadBaby

Produced by who cares?

I can’t get mad at this lazy “parody” of Journey’s “Don’t Stop Believin’” about sausage rolls, or even its Ronan Keating remix, which is LadBaby doing a favour to Ronan Keating, if anything. Sure, my blood boils with the idea that this incompetent Internet personality from the East Midlands – which I think I’m sadly also able to describe myself as – got the #1 over Mariah Carey, or even that Boris Johnson diss track, but it’s going to the Trussell Trust and it’s ultimately an inoffensive, vaguely happy track that even gets the vegans involved. I, for one, prefer “Boris Johnson is a Sausage Roll”, a version of our #5 you can – and should – play on the radio even after Christmas. I don’t have anything more to say about this guy so piss off, LadBaby, you can’t even get the album cover right to the song you’re parodying, thrice in a row.

Conclusion

Best of the Week is definitely going to the Somethings for “Boris Johnson is a Something Something”, with an Honourable Mention to Ed Sheeran’s “Afterglow”. I can’t bring myself to give a charity single Worst of the Week so I’ll spare LadBaby the honour and grant it to Jamie Cullum for his greedy Amazon exclusive trite, with a Dishonourable Mention for “Gnat” by Eminem, for just being wasted potential all across the board. Next week, everything Christmas-related will be gone and we’ll get a bunch of returns and hopefully some new, interesting returning entries. We might even get the impact of Playboi Carti’s long-anticipated album – and I hope so because it’s fantastic – but that’s wishful thinking. Anyways, I hope everyone had a happy holiday season. Here’s our top 10:

Thank you for reading. You can follow me @cactusinthebank for more rambling about pop music and occasionally politics, and I’ll see you next year.

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