#just that it's... not... original. at all? i mean the song is very representative of the whole album in that way. | Explore Tumblr Posts and Blogs

khytal · 1 year

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I’ve been meaning to write about this since ep12 aired but I haven’t had time until now. I'm sure someone's already brought it up by this point but I wanted to put it into my own words, so here I am :]

I’m gonna talk about the “plant song”, as it’s called in stampede’s soundtrack: an 8-bar motif that comes up in several songs in the ost (but I’ll only be going through 3 of them + some other things)

*I consider "common front"/"trigun stampede" to be vash's main theme, rather than "vash the stampede" (more on this later)

it's used (or not, in one case) in some very interesting ways, which have interesting implications :)

I'm referencing track 28 from vol2 of the ost, "plant song on erhu", as the base that I'm comparing the other songs to. aside from some stylistic ornamentation, it's just the 8-bar melody on its own (which I've transcribed in the above image). this is also currently the only version of the song in the soundtrack that features this melody as a solo, with no other instruments.

some notes before I get into it:

-for my sake, I refer to "common front" as vash's theme in this post x) I know it's a shorter version of "trigun stampede" (they're the same song), but the track title makes it easier for me to associate it with vash so I'll be using that instead of "trigun stampede". the titles are more or less interchangeable though

-the rests in measures 3-4 and 7-8 in the transcription for "bio-power reactor" and "common front" don't exist in the songs themselves. I inserted them so that the corresponding parts line up with when they occur in the plant song

-the excerpt from "bio-power reactor" is a diminution (note lengths were cut in half) to make the comparison easier to see

-in "common front" 's case, the transcription isn't entirely accurate but it's more about the notes than the rhythm u-u)b

-this motif is heard in more than just these 3 songs, but about a third of the ost recycles sections from other songs (ex.: "vash the stampede" is just "the jeneora rock resistance" and "trigun stampede" stitched together), so I picked the ones I felt were like "source" songs. since this is about plants, I only had to look for the tracks that were most representative of the twins and the plants themselves

-knives has like 7 different versions of his theme (including the piano/duet ones) but they're all more or less the same so. yeah. I referenced the vocal version in vol2 since it emphasizes the plant song as the melody, and has a slight variation

-I don't talk about the duet here since it's pretty clear that it's for both vash and knives, and it's just a fancy version of the plant song. not much to analyze about it for this post

-I did annotate the music I transcribed, but no knowledge of music terminology is necessary to understand it. it's all pattern recognition, and I mostly just highlighted where the similarities and differences were

-please don't take any of my interpretations as fact, I just thought it'd be cool to point out the motif. you're more than welcome to have your own interpretations using the transcriptions I've included ^^

okay here we go :)

-the songs are listed by how closely they resemble the original plant song, with "millions knives" (and any other related themes) being nearly identical and "common front"'s excerpt being something barely recognizable as the plant song

-"millions knives" has this motif everywhere. you could say it's representative of him being in tune with his identity as an independent plant. or almost like he represents the plants--oh wait, he does (self-proclaimed, but that's irrelevant here)

-almost every time the plant song is heard, knives is there/involved. prior to ep12's implication that it comes from the plants (and the ost outright confirming this), it wouldn't be odd to assume that it's his theme; that's how frequently it pops up. and it's even more obvious in the soundtrack..........except it might as well be his theme, despite its origins lying with the plant race

basically: *knives voice* my theme now

-even though "bio-power reactor" refers to the plants, their song is barely present in the track (it's heard at the beginning and end). kinda sorta makes it feel like a transference of the theme to knives. like the plants are just vibing (they are, mostly) while knives is taking the reins (he is, mostly)

-the reason the track "vash the stampede" isn't part of this is because the plant song is nowhere to be found in it. while it does use "trigun stampede"/"common front", it doesn't have the part that I transcribed

(if you really want to read into this, you could consider the motif's absence a reference to vash being more akin to a human than a plant. I can't say whether this was intentional or not though, considering "vash the stampede" is just a mix of 2 pre-existing songs and has no melodies unique to it)

[-feel free to skip this tangent: "common front"/"trigun stampede" stands out to me because the lyrics are more about vash than the track that's literally named after him (which isn't even an original composition for some reason):

"here I come, here I come any enemy is powerless in front of me here I come, here I come, keep anybody that get(s) in my way, away from me

get everybody involved like a typhoon pull the trigger, shoot down [on a/on the/'nother?] full moon can't you see what I'm [hiding/having?] in my hands call me vash the stampede, and feel love and peace"

not that "jeneora rock resistance" 's lyrics aren't about vash, but I think it's odd that "vash the stampede" doesn't use the lyrics from "trigun stampede" beyond the initial "here I come, there is no one anywhere who is a match for me"]

-"common front" is vash's main theme to me, since it references the plant song while also being about vash himself. it describes vash as he is amongst humans, with the motif serving as an acknowledgment of his race without overpowering the rest of the song (unlike with knives, where it's nearly constant and makes up the core of his theme. if this was intentional on the composer's part, it's very clever)

-the bit I transcribed from "common front" is from the part in the middle that features a flute solo (1:17-1:26; or 1:36-1:45 in "trigun stampede"). you can also hear this in the low brass around 2:27 of "millions knives", where it follows the same pattern as the section in "common front". it looks like this (written as it's heard, without the 2 measures of rest I added):

"millions knives" and this fragment from "common front" are both in the key of b minor ("common front" starts in d minor and briefly modulates to b minor before going back to d minor)

personally I like that knives's variation is grand/drawn out, while vash's is played freely. it highlights their personalities, though we don't really get to see much of vash being "free" in stampede

-there's a very short call and response bit in ep12, where vash sings the first 2 bars to the plants and they sing back to him:

nothing specific to write about here but vash's "La"'s in the jp dub are more articulated because of how japanese people pronounce the "L" sound; whereas jyb's articulation is much softer/barely noticeable (though he sings the 2nd measure with 1 "la" instead of articulating each new note. also his F# was a little flat but like. don't take that as an actual criticism lmao I just have a really good ear)

I don't know why the plants' responses are unique between the two dubs, but I thought it'd be cool to transcribe that part as well. the rhythms were a little hard to pin down since they're sung freely so idk if it's accurate but I know the notes are right x)

-I'm guessing the dub's VA for young vash couldn't sing the C so they cut it and had them start a beat later to compensate and match the lip flaps:

not a significant difference, since the altered part exists in the plant song so it doesn't stand out unless you're listening for it (like I was), but yeah. there you have it

(-I'm sure people know this by now but I figured I'd mention it anyway since I'm talking about it. the reason "knives" asks vash what he's humming in the flashback is because it was rem who asked him that in the original memory. the song seems to be something that all plants know instinctively, so knives should've known what it was. and this discrepancy is part of what caused vash to become aware of himself again......which means knives screwed up his own plan x)

(I wonder if knives will ever talk about what the song means to him))

-when vash is poking at the piano keys at the end of ep12, he's just playing an octave (between a low and high Bb, but that isn't important). my guess is that he's trying to play the plant song, specifically starting at the octave that ties into the triplet, but for some reason he can't get any further than that.

I think he's reluctant to hear the song of his people, the one that made up the duet he and his brother used to play; the one that used to calm him down but may now instead only remind him of what he did/lost. maybe he's trying to reassure himself with the song, and is unable to with the weight it suddenly holds for him

(side note: the duet is in the key of a minor and no Bb's are played in it, so he's not trying to play either parts of the duet)

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extra things I noticed that aren't very conclusive (so don't take them too seriously) but are still worth mentioning:

-these are also arranged from most to least similar

-........yeah I found the plant song in "tombi". the augmented triplets in the pre-chorus tipped me off. I'm pretty certain this is a coincidence though, since it's the only piece of the motif that I heard. I didn't look too much into it, but if "tombi" was written with stampede in mind and if kvi baba was asked to incorporate the plant song then. well. x) anyway I just wanted to point it out, coincidence or not

-knives's theme is here again but for the express purpose of being compared to "orphanage" of all things, because they're in the same key. this 2-bar excerpt plays from 0:18-0:22 in "orphanage", and it seems to be pulled from "millions knives"

the notes are split between 2 different instruments (3 if you count the piano chord reinforcing the A) but they form that exact phrase if you put them together and follow the main beats

which leads me to this point: knives's theme is in "orphanage" because he's linked to it through the eye of michael (again this is me reading deeply into the pattern, so I wouldn't say this was on purpose but if it was.....!)

-elendira's theme doesn't have the plant song in it; at least, not directly. she's actually the reason I ended up writing this whole post, because I wanted to know if the plant song was in her theme. and it's not. fascinating.

anyway this one's a HUGE stretch but I find it to be an interesting interpretation: the plant motif possibly being an inversion, as a way of saying she's neither plant nor human (as mentioned by dr conrad)

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that's all I have to say about this! I hope it wasn't too confusing x') thank you for reading, if you made it this far. the plant song is pretty significant in stampede so I'm really looking forward to hearing how it's used in s2 o)-<

(if there's anything I missed or if you have any questions feel free to ask!)

#trigun stampede #this is. a long one lmao #I never tag my rare analysis posts but I put a lot of effort into this one and I think it's worth sharing this time :')#(also please be nice I'm not the greatest at getting my thoughts across sdjkfhgskjdf)#I wrote most of this between the horrible hours of 2-4am so there might be some stuff I didn't catch #but I'm pretty sure this is everything I wanted to bring up o)-<#khyt.3gunposting

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lickthecowhappy · 4 months

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The three songs in the Small Back Room represent the three seasons

I want to talk about the three songs that play in The Small Back Room. They seem specific and I have thoughts on them but I would love to read more opinions. At the moment, I have two main theories about the choices and their sequence. There is probably more to it than I see but I’ll focus on just one here. I also think that threes are more important that we realize and the fact that there are three instances of the audience hearing music in the shop is significant. I also think it’s interesting that Aziraphale heard two songs and Crowley one, and which they each heard.

The three songs that we hear in The Small Back Room are:

You Don’t Own Me by Lesley Gore from the album Lesley Gore Sings Of Mixed-Up Hearts (This plays in episode 1 when Aziraphale goes to see Maggie about the “ugrent” matter.)

You Don’t Have To Say You Love Me by Dusty Springfield from the album You Don’t Have To Say You Love Me (This plays when Aziraphale goes into the shop to ask about the song Jim was singing. Maggie is “not crying” about being rejected by Nina.)

Comin’ In On A Wing And A Prayer (published in 1943) (This song is playing when Crowley goes to make sure Maggie is on her way to the Whickber Street traders and shopkeepers monthly meeting.)

For this analysis I will assume they represent the themes of Seasons 1-3, and that they are chronological.

You don't own me I'm not just one of your many toys

You Don’t Own Me represents the abandoning of their sides. It’s a song intended to say “I’ll go along with you as far as I can but don’t try to tie me down.” The lyrics are a declaration that the listener doesn’t hold any ownership over the singer, the singer has full autonomy and won’t accept any attempt to be changed or restrained. This tracks with season 1. It’s heard by Aziraphale very early in s2e1, before Jim even shows up. Aziraphale and Crowley go along with their sides in season 1 but ultimately choose their own autonomy (what’s right) at the risk of destruction.

When I said I needed you You said you would always stay It wasn't me who changed but you and now you've gone away Don't you see that now you've gone And I'm left here on my own That I have to follow you and beg you to come home

You Don’t Have To Say You Love Me represents separation and the absence of commitment. The song details that the singer is in love with the listener who has seemed to change their mind and abandoned them. The singer insists that the listener need not make a verbal declaration of love but just to be accessible. It is heard when Maggie is “not crying” over Nina and their uncomfortable feelings, and while Aziraphale is trying to uncover (unbeknownst to him) another romance. This is consistent with the results of season 2. Aziraphale has seemingly abandoned their side after Crowley’s request to remain close at hand. A romance that has been, up until now, mutually unspoken but mutually felt.

Comin' in on a wing and a prayer Comin' in on a wing and a prayer With our one motor gone We can still carry on Comin' in on a wing and a prayer

Comin’ In On A Wing And A Prayer represents reliance on hope in a desperate situation. This song is the origin of the common idiom meaning exactly that. “Things look bleak, but we have a chance.” Our plane is crippled but we’re all alive, we’ve achieved our goal, and we might yet land safely. It is heard when Crowley reminds Maggie of the meeting, and I think that it is significant that it’s the only one he hears and the only one Aziraphale doesn’t hear. If this song represents season 3, one driving force is out of commission; non-responsive. But there are still other forces at work and the listener should keep faith.

But what if these songs are all present as emotional manipulation?

#good omens #aziraphale #crowley #music analysis #brain rot #good omens meta

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thinkin-bout-milgram · 3 months

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Deep Cover: Initial Thoughts

Okay, this one is a lot to look at , especially given how relatively little is actually said. Still, I think I'm starting to make sense of it, so here's my analysis that I've figured out so far.

I'll be using @/oehale on Twitter's translation of Kotoko's voice drama Yonah. As usual, I'll be bolding my general topics/thoughts and moving forwards with that. Let's get started!

Kotoko sees herself as the new warden.

The most obvious comparison here is the mimicking of UNDERCOVER. Kotoko, like the original UNDERCOVER, has lyrics that start with "UNDER" and are followed by talking about the other prisoners. She also basically says as much to Es; they're working together now. They should work together to make the "right" Milgram.

It's pretty obvious that our little innocent deal with Kotoko has gone straight to her head. She now sees herself as part of the authority of the prison, and believes it's her role to give out the proper punishment for guilty verdicts. However...

Kotoko believes everyone in the prison (other than her) should be guilty.

This is pretty obvious based on those previously mentioned "UNDER" lines. They're all very critical. Notably, the ones that most clearly indicate this-- towards the end of the song-- only include the innocent prisoners, but she's made it pretty clear that she agrees the earlier guilties should have also been guilty.

“UNDER” Doltish “001 Parasite” “UNDER” Obscene “002 Slut” “UNDER” Incessant “004 Phony Queen” “UNDER” Doomed “005 Dissection Pawn” “UNDER” Concealing “007 Deceiver” “UNDER” Inept “011 Guard”

Even Es, the "inept guard," gets to face Kotoko's judgment! That line is interesting in conversation with the audio drama, which focuses on Kotoko calling Es weak because they've grown to like and have sympathy for the prisoners. Kotoko has come to view Es, someone who is willing to forgive the guilty (in her perception) prisoners, as being guilty as well for not condemning them.

(Also, 011? Are you implying that something will happen after the tenth? Am I right about a Trial 4 in which we'll vote on Es??)

Notably, for Kotoko, wanting everyone to be voted guilty basically means that she wants everyone else to die. In the intro to the second Trial, Kotoko said that she wouldn't go as easy next time, and Mahiru already nearly died this time around.

So ridiculous, isn’t it ridiculous They’re still here, still here, it grates me

This also definitely seems pretty "get everyone else out of here (kill them)" to me, especially given that it's shown after Kotoko smashes all the pieces representing the innocent prisoners as well.

The guilty ones were already broken earlier into the MV:

Futa's and Mahiru's were broken first; they've already been "broken" in the sense that they've been attacked. The other guilty prisoners go next, as they're Kotoko's next targets. Then, finally, the rest of the originally innocent prisoners, who Kotoko hopes will be voted guilty sooner rather than later.

This is also a small note, but I find it interesting that the line "I want a reason for judgment execution, I want it" was initially translated as "I need a good reason to give justice" in the Trial 2 Song Preview. The specific reference to execution was added/wasn't emphasized in the original version. I don't know what the "correct" direct translation is, but I always stand by the fact that if the translators chose to translate something in a certain way, it's intentional.

(Side note, but I wonder if UNDERCOVER's change in official lyrics to include all of the prisoners' Trial 1 song titles happened when they decided to mimic it in Deep Cover, which also includes the Trial 1 song titles. Could be a reason for the change in translation.)

And, uh... that's all I got. That I'm confident about, anyways. I still have other thoughts, though, so rather than me having bolded claims as section titles, I'm just gonna have, like... categories.

The Girl

You.

We've seen her before, in HARROW:

So, she's the one Kotoko rescued from this guy, right? That's what this seems to be telling us. However, there are a couple of important details to consider.

Where's her hat?

What about the girl in the white dress?

What about the girl in the pink shirt?

I'll get back to 1 in a bit.

The girl with the white dress in question only appears shortly in HARROW, and as far as I can tell, not at all in Deep Cover:

It could technically be the same girl, I guess, given that we can't see her face. However, then there's the pink shirt girl:

There's also still this thing from HARROW:

In my original HARROW theory, I theorized that the guy abducted Kotoko (the girl in the pink shirt), but the girl in the white dress distracted him/sacrificed herself long enough for Kotoko to get away. The memorial/potentially a police notification?/whatever the sign with the flowers is belongs to the white dress girl. Kotoko then later tracks down the guy who did it, when he's abducting the girl in orange. Kotoko then kills him.

Honestly, I think that this still tracks. We didn't really get anything else about the memorial, the girl in white or the girl in pink in this MV-- or the guy she killed, for that matter-- so there aren't any conflicts. I'll be moving forward assuming that that's true.

So, then, back to the orange girl. She isn't wearing the hat Kotoko gave her when we see her getting dragged off. What does that mean?

Establishing the Timeline

It seems most likely to me that most of Deep Cover happens after HARROW's murder. That's not just because the opening shot of Deep Cover looks like the end of HARROW. There's a lot more going into that.

First off, there's the girl. I initially thought that she might be Kotoko's sister, given the apparent familiarity Kotoko seems to show to her, rubbing her head in the park scene. However, once I remembered my initial theory, there are only really two possible interpretations I can think of for her involvement with the man Kotoko kills.

Either

She isn't at all related to Kotoko, and they "met" when Kotoko rescued her by killing the man, OR

She IS Kotoko's sister, in which case Kotoko probably used her as bait to lure out the guy in order to follow him back to his warehouse and kill him.

The second one was my initial read, but after looking at it longer, I think the first one makes more sense on the whole. If I'm right that the first thing that happens in the Deep Cover MV is the murder, that means that the park scene happens after it.

This isn't hard evidence or anything, but notably, the hat the girl has says "LUCKY" on it. If she's lucky, it probably means that she's lucky that she survived the situation with the man. It wouldn't be luck if she was planted there by Kotoko; it would only be luck if she happened to be the victim who's abduction lined up with Kotoko's rescue mission.

The park scene is still a little confusing to me if they were strangers, though. After all, Kotoko pretty pointedly ignores the girl at 2:06 to 2:19ish, and as far as I can tell, nothing major happened between the park and then.

There are three main explanations I can think of.

The first one is that the girl tried to stop her. Like, maybe she thought it was really cool when Kotoko rescued her, but when she realized Kotoko went to go threaten/possibly kill someone who, like, stole something from a business or something, she thought that was too much. This is pretty much entirely based upon the fact that the "Tell me why you tell me stop" lyric lines up suspiciously well with the change in the girl's expression from happiness to surprise, and then eventually what looks like fear.

The second one is that Kotoko is distracted at that point. In the park, we see Kotoko still looking at her phone, presumably looking for more wrongdoers. She spends time with the girl while simultaneously working, so it's no bother to her to spend time with the girl. However, when the girl tries to greet her later, she's in work mode. After passing the girl, we see Kotoko marching on forward with smoke (?) around her. It's very dramatic and she looks very threatening. It's even possible that she's doing a werewolf transformation type of thing there. If Kotoko has her sights set on a target, she might be more unwilling to waste time talking to the girl. This would signify that the people she rescues are irrelevant to her; her focus is on punishing wrongdoers, not checking in on saved would-be-victims.

The third one is that the park actually happened after the thing on the street, but given that she's already wearing the hat on the street scene, which she first wears in the park, that doesn't make a lot of sense.

I think the second option makes the most sense, so it's what I'll be going with.

So, the timeline looks like this:

Kotoko, as a child, is abducted by that one guy. She wears a pink shirt in the flashback. The girl in the white dress intercepts and allows Kotoko to escape. Years later, after becoming a vigilante, Kotoko tracks down the same guy and kills him, rescuing the orange outfit girl in the process.

The orange outfit girl finds Kotoko in the park and either receives or shows Kotoko the hat she got. Kotoko, while still looking at information for her next target, entertains her because she isn't actively busy.

The girl tries to approach Kotoko on the street. However, Kotoko is heading after her next target, and there's no time to lose. The expression of intensity and general coldness Kotoko gives off intimidates the girl, and Kotoko proceeds with her plans.

So, that's how Kotoko's murder works, right? There's absolutely nothing else related to time that could drive me insane!

...

Becoming a Lunatic (The Moon Phases)

Okay, Kotoko's a werewolf, she attacks on the full moon, we all get it. Except... goddamn it, there's more moon than just the full moon.

As far as I can tell, there are three moon phases that are shown across HARROW and Deep Cover. The first one I'm talking about is the full moon.

The Full Moon

The wolf zone occurrence of the full moon in HARROW lines up with when she kills the guy, which makes sense. In Deep Cover, it's preceding the time where she smashes all of the remaining innocent prisoners. That hasn't happened yet.

Because moon cycles happen repeatedly, I think it's okay to say that the full moon happened in the past, when Kotoko killed the guy, and in the future, where Kotoko hopes to kill the other prisoners. It's even possible there's a full moon we didn't see when Kotoko attacked Mahiru and Futa.

Like, that's probably just a spotlight, but it definitely COULD be moonlight. Either way, we don't see the sky, so it at least isn't conclusively NOT a full moon then.

So, full moon = violence. What else?

The Waning Crescent

Disclaimer I know nothing about moons. I am working off of this chart from timeanddate.com. If it's wrong blame them, I can't find a better chart anywhere on the internet.

Notably, the waning crescent is what the moon is for pretty much all of HARROW, except the quick appearance of the full moon at the end. There are clearly visible shots of it around 1 minute and 2 minutes in.

I don't really know what specifically waning crescent is supposed to mean here. Google says that it's about change and reflection, but spoilers, that's what it also told me about the third moon phase that shows up, so I don't know how much stock to really put into that.

I think the most obvious (?) symbolism of it is that it's right before the new moon, when the light isn't shining at all. If I had to take a stab at what the new moon represented, I'd say it's times in which Kotoko is powerless. She's powerless when she's looking for information before the first murder, she's powerless when looking at her crossed out board (more on that later), and she's powerless now-- when we're going to vote. She can't give out justice without our help. This is the last part before we give our verdict on her, so as she's looking around at the other prisoners, innocent and guilty alike, she's preparing to be able to do nothing. She hopes she'll get back to that full moon and exact justice on the other prisoners, but that's only hypothetical for now.

Let's talk about that board really quickly. This is how it looks in the middle of Deep Cover, when the crescent shows up:

This is how it looks at both the beginning and end of HARROW:

This is another reason to believe that Deep Cover happens after the end of HARROW. After all, it'd be hard to un-black out the papers, and given that they're hanging in basically the same positions, it'd be surprising if they were replaced papers. So, that means that Kotoko blacks out her information sometime after she successfully kills the guy.

The scene with the blacked out board is immediately followed by the final moon phase, and then by the girl in orange in the park.

The Third Quarter Moon

The crescent moon on top of the board directly fades into this third quarter moon. This made sense to me until I saw the arrow on the moon phase chart telling me to read it counterclockwise. Then I was confused.

Because the third quarter moon happens immediately before the waning crescent, I think that this moon shift is meant to serve as a time rewind. The scene with the girl in the park (and therefore also, the girl on the street) happens before the scene with the blacked out board. This supports the idea that Kotoko ignored the girl because she was taking out a target; after that scene, all her targets are gone, so Kotoko can cross out the information about them on her wall.

This also checks out with the stuff with the girl in the park and on the street happening after Kotoko kills the guy, given that the third quarter moon comes a little bit after the full moon.

There's no occurrence of the third quarter moon in HARROW. However, it does actually show up one other time in Deep Cover.

At 2:28, the moon shows up in third quarter again, then transitioning to a pink full moon. I'd assume that this shift backwards in the moon cycle, as it did earlier, signifies turning back in time. However, the pink full moon refers to Kotoko killing all of the remaining Milgram prisoners, an event that's already in the future. What happens after the hypothetical future scenario of Kotoko killing everyone?

The answer is, Kotoko collapsing in the wreckage of the destruction she caused. She's in her warden outfit, so it's consistent. The scratch marks probably indicate that this is immediately after she turns back from being a werewolf, in the hypothetical pink full moon.

This indicates that, somewhere in her mind, Kotoko realizes that she might suffer from killing everyone else, collapsing under the weight. It does seem like Kotoko understands that being the one true savior is difficult.

K: I know it well. It's so hard to hold the responsibility of a guard all alone. I've also felt this way. You are such a kind person. You can't stand the prison changing with the power of your choices. So you need someone to be with. Leave all of the dirty work to me.

Even if she wants to present herself as someone who's crushed her own weakness, she still has to worry. The lyrics of the chorus are begging Es to give her her next target. If she doesn't have people to target, she doesn't have purpose. Her board is all blacked out; the guilty prisoners will be crushed. Once all that's said and done... what else is she going to do?

Conclusion

Anyways, that's my best shot at understanding this MV. It is... confusing. The main things I still don't understand across the two MVs are the many wolves with purple glowing eyes in HARROW and what the hell the pieces that represent the other prisoners in Deep Cover are. If they're not chess, then what are they???

oh wait lmao i forgot

VERDICT: GUILTY

We already knew this one.

I can't tell Kotoko that it's right to kill the rest of the prisoners, and she really needs to be restrained. I don't know exactly what the damage is gonna be to Kotoko's mental state, but for the safety of everyone else, I kinda have to. She makes fair points about us verbally torturing prisoners not being that different from physically harming them, but... we're at the very least not shooting to kill?? Like, if you kill them, there's no hope at redeeming them. That's what we're trying to do, even if the tactics Milgram gives us are less than ideal.

Anyways, tell me your thoughts and if any of this made sense! Happy end of Trial 2!

#milgram #ミルグラム #admin venus #kotoko yuzuriha #milgram theory #long post #5:43 am hell yeah #normal things #this mv did NOT make sense to me the first time that i watched it #like at all #the moon phases almost made me cry /srs #but i think i figured it out by the end!!#kotoko is such an interesting little creature #i want to study her #which i guess is what this post is doing lol #i should go to sleep

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kanmom51 · 10 months

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JK 'Seven' Campaign Behind-The-Scenes Film

Hey all, coming a little late to the party here, but hey, it's the weekend.

Basically JK is gorgeous.

End of post.

Nah.

Not really done, although there isn't too much to say about this clip.

One thing we got was JK in a white singlet, which is one more parallel to JM's Face photo shoot campaign.

One more piece just falling into place.

Oh, and obviously we all saw this too, right?

You know, the mud on the pants.

Mud that happened to be all over JM's Like crazy MV.

Was JK also walking through the mud? Together with JM? Is that what JK is telling us? Just in case we didn't know who these lines were meant for:

Every night you spin me up high

The moon that embraces you

Let me have a taste

Give me a good ride

Oh, I'm fallin', I'm fallin', I'm fallin'

Oh, it's gon' be a good night

Forever you and I.

And the spikes.

Let's talk about the spikes a second.

Yes, they both have the spikes. JM on his actual skin, JK on his jacket.

I had a little interesting back and forth with @ffjj5 about this.

JM's spikes on his skin representing inner struggles, finding a way to be happy in his own skin, to find his real self and accept both his masculine and feminine sides. @ffjj5 bringing this up. How possibly it was his own skin that was the cause of most of his pain.

On the other hand, JK's spikes are on his clothes. And my thoughts were perhaps JK's spikes are on the outside, because the for him, the struggles were external. JK, the golden maknae, the one that at 15 was front and centre. the one with "the best voice", the one that BTS cannot do without, the one that literally EVERYONE had the highest of expectations of.

So JM was dealing with internal struggles - spikes on the skin.

And JK dealing with external demands - spikes on the jacket.

JM dealt with some of these issues during Covid and this came to be in Face.

And with JK, well, we've kind of seen him fighting back lately, perhaps his way of dealing with some of these external demands.

Oh, and did I mention the song playing in the background during JK's clip?

Just another coincidence?

Anyway, I love how every single thing JK does is thought out. Might not be that our interpretation is the one he was thinking of, but 100% there is a reason for every single thing he does.

One good thing coming late to the table is that I get to see what others are talking about before I open my big mouth. And well, how people twist every single thing they can when it comes to JM and JK.

How people take the "JK being JM's copy cat" and twist it all around to JK stealing JM's ideas? Plagiarism? Really?

Let's start with what plagiarism actually is:

Before people go open their mouths, maybe better they go check what the meaning of the words they throw around mean.

Did JK ever come out and say this was all his idea?

Did JK even talk about the photo shoot, the concept, the ideas, how he came up with them, and why he chose them?

Of course he hasn't yet.

So how the hell is this plagiarism?

The day JK says "this is all my original idea, omg what a surprise, didn't even know it looks so much like JM's", then fuck them haters, maybe then they could open their disgusting mouths and say that word. But see, that day won't come. So for now, they need to stop talking shit.

Did we forget this?

or this?

Now, this one isn't about JK stealing JM's ideas like some want others to think. It's about JK looking at JM, seeing him as someone who inspires him. Someone whom he admires. I saw @roo-bastmoon use the term muse, and I agree. JM is JK's muse.

So, the way I see it is that JK is mirroring JM.

Like I said, every single thing JK does means something. It's well thought out. The outfits, the muddy jeans, the silver rings, the spikes.

So, instead of seeing JK doing this, showing up styled so very similarly to JM's Face campaign, inspired by JM, mirroring Like crazy, not copying it, honouring it in his own way, people are taking that and making it out into idea theft.

The way JK is underestimated by this fandom surprises and angers me every single day.

Oh, and btw, JK's morning concert on GMA is sold out. Surprise surprise.

Oh, and one more thing:

Please don't hate me for this.

Yes, he's damn adorable, but please, that hair style... no more... Please.

#Junkook #JK #JK Seven #Jikook #Kookmin #Minkook #Jimin #JM #JM Face #JM Like crazy

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orbitalmoonrat · 3 months

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hello I just discovered that you are the artist of my absolute most favorite song in the world, my love is sick (don't mind me as fanning out over your art ughhhh it is so gorgeous)

anyways.

what are the flowers/moths on the cover of the single? the one with the person sitting rotting with flowers growing out of them? I think one of the flowers is marigold, but I'm not certain about the rest

hopefully it's okay to ask this! feel free to disregard if it isn't

the cover of the single is actaully the most gorgeous cover I have ever seen and I'm. hhhhh I love it so much, fantastic work !! :)

Hello!!! This is such a sweet ask, I'm so glad you like the cover of the song!!! It was an absolute pleasure to work with Madds in illustrating it ;v;

You are right about the marigolds!

The flowers featured are marigolds and black dahlia flowers! The moths are Death's-head Hawkeye moths :)

Marigolds are supposed to represent despaired love while the Black Dahlia's represent death! Since the song is all about hanahaki disease (For those who don't know, it's the fictional disease where when you love someone and they don't reciprocate your feelings/don't know about your feelings, essentially one-sided love, flowers sprout in your lungs and eventually suffocate you) I thought those two flowers would represent that perfectly! That and the black and orange create a very pretty contrast.

Originally, we actually wanted white butterflies, but after we settled on the flowers, we found the perfect moths to compliment the flowers, seeing as how they share the same color palette. It was a match made in heaven <3

I hope you continue to support Madds and her music!!! Supporting her means you're also supporting me, especially considering I design all of her merch, too! ^v^ Thank you so much <333 (I showed her this ask as well, she was very flattered and happy to know you love her song so much!)

#nini talks #ask #toscavan #madds buckley

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disruptivevoib · 6 months

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I am eternally thinking about how Whole is a concept of the fandom and not canonical at all.

Arguably, maybe someone would say the inclusion of Whole diminishes the original message of the album, to which I do not disagree but I do not agree either.

He changes the context of it, I suppose?

Because the original album, Whole is a concept to be strived for. He is not real, it is always just Heart, Mind, and Soul beneath the surface. They are manifested facilities of the way a person is, how they talk to themselves, the internal conversation. That "psychosocial envy" is the idea of the album. The effect that social standards have on someone who views themself as flawed beyond recognition without any idea how to fit into what the world wants of them.

Soul longs to be Whole because he longs to become what society deems is a person. All of what they are and what they want to be comes in many different forms. It could be any number of internalized ideals of what a man should be, or who you should love, or what you should strive for in life.

Two Wuv as a song is that realization that even after Mind and Heart are better, after they've been able to communicate and function "properly", there is no Whole coming. This is who they are, and that is fine. He is not perfect, he is not what society wants, but he IS a person, and to him, he is Whole.

It is a concept of self forgiveness and grace. The ability to have nuance that what society seeks of you is not so important as truth of the self, owning your flaws and seeming imperfections.

Ultimately, everyone's brain runs differently. Everyone talks to themselves differently, refers to and conceptualizes their inner-world in many ways, and none of it is definable. We have no capable way of putting the way somebody speaks to themself, refers to, and functions within themselves entirely into a box. We are a collection of lived experiences turning itself into informed reactions and responses. If that makes any sense at all.

Of course, the things we have put labels to are definable and are all a part of how we interact with ourself, and there are always commonalities and similarities. There is so much variety in it, being human is fluid...

Anyways.

Without Whole, the "end" of the album means they are in acceptance of one another, that there is a positive relationship with your inner dialogue for some time before something happens and causes a harsh reflection to shatter it all. With him, it is essentially the same, just that there is a more literal or tangible figure to represent that cohesive self-acceptance.

Whole being a tangible character doesn't change Soul, but as I said, informs him more. Whole and Soul are mirror images, they are had to separate and Soul is what Whole is without the interwoven Emotion and Thought.. I suppose. Soul strives for him, and without him, comes to accept this is how it is and who he is. With him, Soul may miss that aspect, or more so, get it only to discover Whole is real, and everything he did worked, but now he sacrifices himself for that.

The dynamic is interesting but incredibly devastating in that regard, especially because it is unlikely Whole's intention to ever split. Nobody wants to have a mental breakdown, y'know?

I could go on about this forever. Whole not being a real character (at least not in the way we often think of him) in the album but something very real and even achievable within the fandom space is.. I dunno, so unique? Its not often fans get to create something that while entirely uncanon to the project, is very important to it.

Side note, what I mean by not how we see him is that Whole is real because they have always been Whole. In album there is no separation. If anything, Concord is like leaving CJ's inner dialogue and witnessing just all of them in tandem being him.

Okay okay. I'm done.

#chonny jash #chonnys charming chaos compendium #voidthoughts #cj heart #cj mind #cj soul #cccc #I could really really keep going forever #I think I find the album itself more satisfying #but in concepting and writing whole being tangible is SO so much more capable of intriguing narrative #long post

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lara635kookie · 4 months

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I didn't even watch "WISH" yet because in my country it will only be available at january, but people are saying it's a bad cliche so I probably won't watch at the cinema.

The thing is, even though I am a hopeless romantic, not everything has to have romance. There are princess who are perfectly fine without a prince, like Mirabel, Elsa, Merida, Moana and Raya(I do kinda like the idea of Raya with a girl, just not Namaari). But we were so robbed of seeing Asha and the star boy(he is literally a staR so I don't doubt Disney would call him StaN or something like that, so his name is Stan from now on, I am gonna call him like that, is easier than star boy). Asha and Stan had the potential to be the next Tianaveen and Rapunzel&Eugene (I don't know their ship name). The concept arts are the cutest thing I have ever seen. Also "At All Costs" (bop) would have been a love song between the two!!! Them singing it man. The pain I will feel when I don't see them passionately sing it, very "I see the light" coded, in the actual movie. Somehow, now is not feminist for a strong female character to have a male partner by her side. Like...This doesn't make sense! You can be a strong female character and have a man at the same time! Have y'all forgotten Mulan and Shang? Anna and Kristoff? Ariel and Eric? Jasmine and Aladdin? (There are more examples and I could go on all day, but you got what I meant already) I hate Disney for throwing good ideas at the trash and playing safe just for money(like Hobie Brown/Spider-Punk said "it's a metaphor for capitalism"). And as the guy looked blonde with blue/green eyes in the arts I have seen, and Asha is a black latina, they lost the opportunity of having a biracial couple ACTUALLY DONE RIGHT (Pocahontas and John Smith don't count, he is a collonizer with the most common name in the world, she deserves so much better). Like, if the thing is show how inclusive you are by having a black latina female protagonist for little girls to see and feel represented in a good way, you could have increased that feeling by making someone fall in love for her. Little girls would feel like they are beautiful and desired/desireable in a positive way and that they worthy of being loved and love and be with whoever they want to be with, even someone who has a different skin color.

I am also mad because we could have seen Disney's first evil villain COUPLE with King Magnifico and his wife, the queen(still don't know her name, sorry). Can't you guys imagine the HITS, THE FIRST PLACE OF BILLBOARD HOT 100 WORTHY songs, they would proportionate us? Even if only one song, it would be enough for me. But someone thought having a female villain would be anti-feminist and they discarded an original and authentic idea, which is what Disney built its empire on the first place. Come on Disney minorities don't want to be portrayed as those unrealistic superior beings, they want to be portrayed as real human beings with emotions, struggles, qualities and flaws. Having an iconic female villain like you guys always had(like Maleficent, Cruella De Vil, Ursula, Mother Gothel, Lady Tremaine, etc) and set her up with an iconic male villain(like Gaston, Doctor Facilier, Shan Yu, Jafar, Hans, etc) it would have been top notch, god tier. King Magnifico and the queen could have been like the Gomez and Morticia of evil. You could address so many topics by it. Like the kingdom being ruled by evil would have been a great social critic of some politicians out there, for example. And we could have had an iconic final boss battle between Asha and Stan VS Magnifico and the queen.

Anyway, what I mean by this is that if someone has fanarts or just ANY CONTENT, of Asha and Stan, tag me, reblog this or comment, I don't care, just warn me, because they are my new obsession. I will also write a fanfic about this movie with these ideas, but only after I have watched the movie so until them, please feed my hyperfixation in Stasha (Star boy/Stan×Asha), I'm begging y'all

#disney wish #wish 2023 #princess asha #wish asha #king magnifico #asha x star #asha x star boy #asha x stan #asha x star guy

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antialiasis · 5 months

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Chess (2018 Kennedy Center revival)

So I was just going to briefly mention all the other different versions of Chess I have consumed in the big essay post I’ve been writing on and off, but there was just too much to say about this one which made it really awkward to fit it in, so fine, here is another individual chesspost. Nearly 7500 words of rambling under the cut, oh my god.

This production represents the latest official full overhaul of Chess. It sports an all-new book written by Danny Strong, also known as the actor who played Jonathan on Buffy the Vampire Slayer, which is some whiplash (Sarah Michelle Gellar is apparently a big Chess fan, too). It was later staged again as a concert with some further modifications in 2021, but I listened to an audio bootleg of the 2018 version. (There exist some videos of it online, but only scattered bits.)

The Story Changes

This version has London’s basic plot structure with the distinctive two chess tournaments (this time four years apart, which is neither the original number nor the actual number of years between world chess championships), but rearranges Act I, adds a lot more quippy dialogue and swearing, reinterprets the characters, and recenters real-world politics in the whole thing — sort of the exact inverse of what Chess på svenska did with the material. It opens with “Difficult and Dangerous Times” to set the scene in the Cold War and features the Arbiter narrating with sardonic omniscient commentary between songs/scenes throughout, which does feel a bit more consistent than the Arbiter suddenly having a narrator role for the duration of one song in Act II.

All the main characters in this version are reinterpreted with significant new background context, which is a very interesting way to rewrite it that I definitely dig in principle. For example, Florence’s first scene here involves Walter threatening her with deportation from the US unless she can make Freddie behave for the duration of the tournament. Most versions of Chess make the political scheming very symbolic and vague — exchanges of mostly unnamed political prisoners or handwaved concessions — but this version is noticeably specific, with specific nuclear arms treaty negotiations that the CIA believes would be negatively affected if Freddie keeps openly antagonizing the Soviets. She tells Walter to go fuck himself (told you it adds more swearing) and that nobody can control Freddie Trumper, but ultimately she doesn’t have much of a choice but to reluctantly play along. This addition recontextualizes her character and her interactions with Freddie in Act I a fair bit — it’s pretty significant, after all, that she is under threat and may lose her home if she doesn’t somehow control what she really can’t.

Meanwhile, Freddie himself here suffers from a full-on mental illness which he takes medication for. Walter asserts on a phone call early that they’re dealing with a “genuine paranoid schizophrenic”, but then later calls him a “bipolar bitch”; I take the blatant inconsistency combined with the obviously insulting nature of these remarks to mean probably we’re not meant to take either of them at face value, but these two lines from Walter are the only ones suggesting any specific diagnosis. (I unfortunately suspect Danny Strong didn’t have a specific condition in mind and research it so much as just slap him with a Generic Ambiguous Mental Illness for which he takes Pills.) One way or another, Freddie’s ambiguous mental illness gives him bouts of intense paranoia, driving him to do things like trashing his and Florence’s hotel room to look for listening devices at one point. Florence keeps insistently, frustratedly telling him to just take his goddamn pills even as he’s in genuine distress; it’s pretty uncomfortable, and also definitely one of those things that are at least more human when his episodes could cost her the only home she has: she’s desperate and in distress too.

(I do kind of feel as if this whole bit would make more sense if Florence and Freddie had a strictly business relationship here to start with, instead of being explicitly portrayed as a couple — when they have a committed intimate partnership going on, one would think Florence getting deported would also be pretty obviously significant for Freddie, and Florence quietly playing along with the CIA and crossing her fingers that she can indirectly coax him into behaving with seemingly no serious thought given to whether it’d be better to just tell him why he needs to stop feels stranger. The scene with Walter sounds like Walter/the CIA are not aware of their romantic relationship and Florence wants to keep it that way — they both refer to Freddie strictly by his full/last name and as “her player” — so I guess Walter would have assumed she wouldn’t tell him, but surely the calculus would at least look a bit different to Florence herself. Even if it just prompts her to realize Freddie would still be liable to react by becoming even more erratic and vocal about his paranoias, that feels like it’d be significant enough, at least for her feelings on this relationship going forward, that it never actually coming up or being suggested within the story starts to feel marginally odd. Not a major complaint, though, just a bit of overthinking.)

Freddie in general is noticeably portrayed much more sympathetically here than usual throughout. Where other versions of Chess tend to present Freddie as an attention-seeking drama queen who plays up ludicrous arbitrary demands for money and press, here things like his walkout from the first chess game are made to come from a much more genuine place: he has major sensory issues and is intolerably thrown off balance by distracting noise and lights (which really are deliberately arranged to sabotage him). “Florence Quits”, the song with the misogyny verse, usually reads as being triggered by his jealousy and inability to accept that Anatoly’s just playing better than him, but this version makes it feel more about how he feels persistently gaslit about the ways he’s being sabotaged than anything else: he accuses the Soviets of having a hypnotist in the front row to throw him off (which they do, and Freddie literally saw him and recognized him) and Florence of working for the CIA (which she has been, if not by choice) while they deny it and brush it off, and the tense opening notes of the song play under him desperately yelling “You’re lying to me! You’re all lying to me!” (Which doesn’t make the misogyny okay, obviously, but it does make it feel more like a desperate, paranoia-fueled lashout where you don’t know how much he really means all that.)

When he subsequently forfeits the match against Anatoly, he makes a speech that sounds absolutely despairing where he says chess has been taking a toll on his health since he first became champion at eleven years old, and he doesn’t feel he can trust anyone, even himself. In Act II, before “The Interview”, he even actually apologizes to Florence for how he treated her; heck, his motivation for going so hard after Anatoly in “The Interview” itself is portrayed as being that he is genuinely disgusted by Anatoly leaving his family so callously (which is a lot of fun given Freddie’s own issues about his father leaving him and his mother behind) and wants Florence to hear the truth about what a despicable man he is, which is still unpleasant to her but clearly comes from a much more sympathetic place than either simple spite or reluctantly complying with Walter’s orders.

As for Anatoly… he was taken from his parents when he was a small child to be groomed by Molokov and the KGB into becoming a chess champion, and he’s well aware from his very first scene that the state had killed the previous Soviet champion after Freddie unseated him. (Freddie excoriates the press early on for not covering why the former champion disappeared off the face of the Earth because they’re too busy bashing Freddie, which sounds like paranoia, but the narrative has actually told us Freddie is right and they really did execute him but no one but Freddie seems to notice or care — another way in which Freddie is jarringly sympathetic here. In general, Freddie is portrayed as paranoid, and the other characters treat him like he’s just paranoid, but the narrative keeps proving Freddie’s paranoia right.)

Anatoly, though, isn’t afraid of the same fate, because “The state cannot execute a man… that is already dead.” (This general sentiment could press my buttons, but it just feels super corny and melodramatic the way it’s presented and performed, especially with that dramatic pause in there.) He is deeply depressed, thinks his marriage to Svetlana is fake and his kids hate him, and says repeatedly in Act I that he hates chess and just wants to be free of it, though he also describes a particular championship match he watched as the only time he’s felt love. At the end of Act I, he defects to the UK along with Florence as usual (his defection fully blows up the treaty Walter was worrying about despite Anatoly’s victory, so Florence’s refugee visa is indeed revoked, and that’s why they end up in the UK). Theoretically he should be free of chess now, but it bothers him intensely that he only won by forfeit (here they never finished playing a single match), resulting in him returning to defend his world champion title, and win it ‘properly’, four years later in Bangkok against Viigand.

Unknown to Anatoly, by Act II, after the election of Ronald Reagan, the Soviets are extra on edge and believe a planned NATO military exercise is actually the US mobilizing for a full-scale invasion of the Soviet Union. Walter tries to convince Molokov it’s just an exercise; Molokov insists unfortunately the generals are going to believe it’s an invasion and be ready to retaliate unless Viigand wins the championship (if Viigand wins they will take it as a ‘sign of goodwill’ from the US, which will change their minds on the apparent invasion because, uhh, unclear). Throughout Act II, the larger stakes in this version are set up to be that if Anatoly should win the match, the Soviets are liable to start a nuclear war.

Does Walter go to Anatoly to frankly tell him that apparently the Soviets have lost their minds and are basically threatening nuclear war over a chess match and try to convince him to throw on that basis? Does Molokov realize that if he’s telling Walter to go rig the chess match so the generals will call it off, he clearly doesn’t actually believe that the US is about to invade, so probably he should be trying to convince the generals not to go for the nuclear option himself? No, of course not; this is Chess, so we have to have the songs that are in Chess. So instead, Walter and Molokov just go through the same indirect schemes as usual to unbalance Anatoly and convince him to throw the game, with some minor twists. Molokov actually actively threatens Svetlana with being sent to a gulag to die if she doesn’t convince her husband to return — and Svetlana does straight-up tell Anatoly this, only for Anatoly to brush her off and tell her they won’t do that. Florence learns the same from Walter and initially dismisses him, and fully doesn’t believe him about her father being alive, but does ultimately sympathize with Svetlana and worry for her, which I like. But Anatoly is obsessed with winning this championship above all else and fully convinced Molokov is bluffing.

In the end, he plays the game to win, oblivious to the nuclear threat; as he checkmates, Walter makes a desperate phone call to his superiors to call off the training exercise. (Why he didn’t just do that immediately when Molokov told him the Soviets were taking it as an attack, instead of spending all this time playing along with this elaborate chess mind game, is a mystery.) Only… they don’t, and the Soviets watch with their fingers on the nuclear button, but ultimately they don’t fire. The Arbiter’s narration informs us this was the closest the world ever came to destruction, even closer than the Cuban missile crisis, and that this then served as the wake-up call that prompted negotiations about nuclear deescalation.

Anatoly, meanwhile, returns to the Soviet Union as usual, this time successfully exchanging himself for Florence’s imprisoned father, and Walter gives the two of them visas so that they can return to the US together.

Broad thoughts

I feel profoundly weird about the mixing of real-life history and completely fictitious alternate history here — you can’t just assert in narration that the fictional events in your musical were what taught the US and Soviet Union that maybe they should just talk to each other, while making a specific comparison to an actual thing that really happened, after spending the musical asserting that the Soviets murdered chess players for losing the world championship. I think mixing history and fiction can work fine if we can imagine that for all we know this is what really happened, or alternatively that this is what might have happened in some alternate universe similar to but distinct from ours. But here, we’re creating highly significant and publicized events that are obviously fictional, making it absurd to pretend this is what really happened, while also presenting these fictional alternate-universe events in objective hindsight narration alongside real events that happened in the real world and as a supposed cause of them. This ending narration just feels like it’s weirdly trying to have its cake and eat it too.

All in all, though, I think this is definitely one of the most interesting efforts to rewrite Chess. It definitely has something it’s going for, there are several neat ideas in it, and in particular I appreciate that it tries to give extra attention to the characters, more context to their actions, and more messy, humanized depth, inner conflict, and complicated motivators and stressors behind what they do. I genuinely enjoy what it’s doing with Freddie in Act I, in particular, even though it feels somehow both jarringly like it’s woobifying him (I genuinely think he ends up coming across as the most sympathetic of the three mains here, with so much of his erratic, childish and unpleasant behaviour being recontextualized to be more understandable and the way his hatred of the Soviets keeps being validated by the narrative) and like the narrative is weirdly harsh on him (this much more sympathetic Freddie who suffers from an actual mental illness is treated like absolute irredeemable scum by every other character including the fourth-wall-leaning narrator, even more than usual).

I also think the restructuring of Act I was pretty solid for the most part, though there’s definitely some awkwardness, like how Freddie’s expanded encounters with the press sort of clumsily repeat the same beats a bit. On the one hand, I can get what Danny Strong was going for in choosing to introduce everyone first and then go into “Merano” instead of doing several minutes of narrative meaninglessness before the main characters are even introduced; on the other hand, that kind of just half-defeats the sole original purpose of “Merano”, which is to provide a very jaunty more stereotypical musical theater song so that Freddie can be introduced via barging in and interrupting it with his very different vibe, and if I were Danny Strong I would definitely have just removed “Merano” at that point. But the “Difficult and Dangerous Times” opening works great, and it nicely avoids the “almost nothing of note happens for nearly forty minutes” and “several meaningless fluff songs in a row” problems of the London script, introducing conflict and stakes early and keeping the narrative going.

Ultimately, though, a lot of what it’s trying to do doesn’t quite come together to me, and some of it is variously misguided or just strange.

The Politics

To start with, I can definitely get wanting to emphasize the role of Cold War politics in the narrative, and I basically enjoyed the increased political focus and higher stakes in Act I — but I don’t think making Anatoly unwittingly almost start a nuclear war works here, or fits properly into this narrative at all. The Soviet generals have to be holding idiot balls; Molokov has to be holding an idiot ball; Walter has to be holding the biggest idiot ball of all; and most importantly, the ludicrously massive stakes being pasted on top of the match despite none of the main characters even knowing about it means we zoom thoroughly out of the character drama of the situation: “Endgame” just becomes grotesquely trivial with that hanging over it without Anatoly’s knowledge, rendering the actual drama of the climactic song completely irrelevant to what’s really at stake.

I also dislike, in a version that emphasizes the politics, how distinctly slanted it is. One of the things that I like in the London strain of Chess is that Walter and Molokov are both slimy, manipulative bastards in different ways, both sides’ political actors cruelly toying with the lives of the players for their own impersonal ends; the righteousness of each state as a whole doesn’t really matter to this story, only the impact that the whole conflict and the mutual scheming has on the main characters’ lives. But in this version, the Soviets and Molokov are cartoon villains who literally abduct children to force them into chess camp and then murder them if they don’t win the world championship, while Walter may be a condescending asshole who’s willing to threaten Florence but is distinctly the ‘good guy’ in his interactions with Molokov, which comprise most of his screentime, especially in Act II. Walter even gets a humanizing moment where he explains he has a nine-year-old son and has nightmares about him suffering a nuclear winter (Molokov, meanwhile, tells Walter in Act I that Anatoly is like a son to him but could not more obviously not care about Anatoly at all when he proudly presents his new champion material Viigand in Act II). I just find it really detrimental to Chess’s narrative to make it about Soviets Bad, US Good, and more so the more you focus on that — to whatever extent you highlight the politics in this story, it should be done in a way that’s about how the political machinations of the Cold War impact the character drama at the center of it, and it’s distracting when instead you make it into a loosely related B-plot about Walter’s desperate diplomatic efforts to stop the evil Soviets from destroying the world with their shortsightedness.

I think a successful more politically-focused Chess could definitely exist, but I think it’s always going to function best if Walter and Molokov feel at least narratively like just about equal scumbags. It’s not even impossible to imagine nuclear weapons and mutually assured destruction coming up in the course of it — but it needs to be using that to make us enraged at all of this on behalf of Anatoly/Florence/Svetlana/Freddie, not enraged at Molokov on behalf of Walter.

The Character Work

Meanwhile, I do basically like the setup and recontextualization done for all of the main characters in Act I, but unfortunately none of them quite delivered as well as I hoped in the end.

Let’s start with Florence. I actually quite liked the deportation threat, putting Florence herself under personal pressure in a way she usually isn’t. I dig characters being put through the wringer and making decisions under stress. But the story doesn’t quite do anything with that other than using it as silent context behind her early interactions with Freddie and technically as the reason she and Anatoly move to the UK offscreen. We don’t, for instance, ever see Freddie learn that that’s why she moved or that he was unwittingly indirectly responsible for that, or otherwise address that in any way, and as far as Florence in the rest of the story is concerned, it might as well never have happened — we never see her having any kinds of feelings on it, or even confronting Walter about that nasty little part he played in her life when she meets him again (she doesn’t even comment on it when he offers her the chance to go back to the US at the end!). To an extent this is, of course, because Florence being deported was never originally part of the story of Chess, so of course it doesn’t come up in any song or have any significant specific impact on the core series of events — but if you’re going to add it in at all, you really ought to be taking that somewhere in the rest of your additions that isn’t just briefly handwaving that she gets to go back at the end.

Like Long Beach, this version brings Florence’s father back at the end — but unfortunately, it feels really unearned here. Compared to other London variants, it actually ditches the bit of “The Deal” where Florence is tangibly emotional and riled up by Walter’s offer of her father — she fully dismisses the idea of her father being alive as bullshit, and instead it’s Svetlana who moves her to have doubts when she sees her begging Anatoly to return on video and realizes Svetlana still loves him. I do really like that, by itself, and it’s probably my favorite thing about this version’s portrayal of Florence; her empathizing with Svetlana to the point of feeling genuinely guilty for having taken her husband from her, and believing maybe the right thing to do would be if he went back to Svetlana for her sake, is actually very good, serves as a great lead-in to “I Know Him So Well”, and makes Florence’s character feel far more sympathetic in a production where she’s otherwise pretty lacking in that department. But it leaves us with no emotional connection whatsoever to Florence’s father — we’ve only heard her mention him twice before Walter’s offer, very briefly, in Act I, and not really with any sense that she misses or is all that invested in him. Seeing her reunite with him means nothing for her or her arc; it just comes out of left field, and winds up being another thing slanting this version towards Good Guy Walter, Bad Guy Molokov, what with Walter offering her visas back to the US for both of them seemingly out of the goodness of his heart.

It would have been possible to actually build up to this in a way that would make it satisfying. Florence and Anatoly have several conversations; we could have used some of those to have Florence actually talk about her father and how she feels about him being gone, and that could have been part of building up her relationship with Anatoly, made it meaningful that Anatoly’s parting gift to her is to ensure her father’s return. I suppose Danny Strong’s thought process may have been that if he built up Florence’s father too much, that should become her main concern once Walter brings that into it, and he wanted her concern to be about Svetlana instead, which I guess is fair; it also means Anatoly only really has to dismiss the potential harm to one other person in his obsession with the winning the game. But if you do make the decision to not build up her father, then bringing her father back is not an ending that makes any sense, and there was no need to do this — they could have easily cut out all suggestion of her father being alive entirely and it would only have made things smoother. I think the only reason she gets her father back in this one is in some hasty effort to make Florence’s ending less bleak, but because it doesn’t have any emotional resonance, it’s just not the right way to do that here.

Speaking of Florence and Anatoly, the romance here… once again has some neat, interesting things it’s going for but doesn’t quite come together as a whole. The two of them do have some actual conversations where they bond a bit, which is already a marked improvement over the default London script — but their very first conversation features Anatoly asserting out of nowhere that Florence has “a way of brightening his spirit”, despite not even knowing her, which isn’t super convincing and just comes off kind of creepy-awkward. Florence asserts a few times that he’s sweet and kind, but we don’t really see much of him actually coming across as sweet or kind — his lines tend to be either melodramatic or sardonic moping interspersed kind of jarringly with awkward jokes. He’s less charming or sweet and more like a lonely, kicked dog, which is fine if Florence is into that but doesn’t quite make her descriptions of why she likes him ring true.

This production actually goes back to the concept album a bit when it comes to Florence and Anatoly — namely, more than political manipulation and external pressures forcibly tearing them apart from the outside, there’s a more substantial internal tension between them as Anatoly genuinely simply prioritizes winning the chess match over her and dismisses her as she tries to question him about Svetlana. The two approaches can both work but do different things for the narrative; this internal approach puts more focus on the personal conflict and character drama and makes the relationship more interesting, which is definitely good, and in principle I think this is built up to in a pretty solid way here — Anatoly, raised to become a chess champion to the exclusion of all else, being maddened by the notion of not actually beating Freddie in Act I and needing to prove he deserves the championship to himself in Act II before he can feel “free from chess” works as a coherent reason for him to be so strikingly, unhealthily obsessive about it.

But I think the biggest problem is that Florence and Anatoly individually don’t hit well enough as characters to create investment in them. Florence is ultimately not developed enough and mostly just acts kind of unpleasant, especially to Freddie, all the way up until that Svetlana bit in Act II. More importantly, I just can’t like or understand or sympathize with Anatoly at all, beyond recognizing that core of what his arc is going for. Part of it is probably down to the writing of his lines, which I’m just not a fan of in general. I already named one example from his first scene. Here’s how Anatoly and Florence’s very first conversation starts:

ANATOLY: It’s not his fault. This game drives us all crazy. FLORENCE: I’m fine. Aren’t you even a little bit scared? ANATOLY: Of Trumper? FLORENCE: No, that they’ll kill you if you lose. ANATOLY: Oh. To quote the great Leo Tolstoy, “Even in the valley of the shadow of death, two and two do not make six.” FLORENCE: What does that mean? ANATOLY: I don’t know exactly, but it is very Russian.

I just don’t find this dialogue very convincing. Why is he reciting a dramatic irrelevant quote if he doesn’t know what it means and just thinks it’s “very Russian”? It feels like a generic quippy exchange off a snarky TV show. Does Anatoly use humour to cope with his situation? Not really; this is pretty much the only time he says anything that might be taken as that. This feels like a joke that’s there only to get a laugh out of the audience, not because Anatoly would actually tell it — and consequently, it doesn’t tell us anything real about Anatoly. Meanwhile, Florence responds to this with “Oh, you’re funny,” as if that’s one of the reasons she falls for him when I would decidedly not name that as a character trait he has. I feel like most of his dialogue just doesn’t have a great sense of character — in stark contrast to Freddie, who oozes character. I can’t get a good sense of who he is and how he thinks. He’s just there. And this also makes it harder to see what Florence sees in him and believe in the relationship.

Moreover, this Anatoly just comes across as kind of a terrible person, not in the fun coherent intentional way Freddie is a terrible person but in a flat, confusing and kind of unintentional-seeming way. Svetlana here is actually really sympathetic, with lovely little additional bits of dialogue that make her feelings hit harder (her voice as she tells Anatoly that “You left us!” breaks my heart), and this is possibly my favorite version of Svetlana in any Chess. But Anatoly is really, really terrible to her, by which I don’t even mean the cheating on her but the bit where he keeps angrily insisting to her face that she never loved him and she brainwashed their children to hate him and of course they’re not going to kill her (hey, Anatoly, guess who’s already well aware that the Soviet government in this universe is not above executing people over chess?).

And even that could be made understandable, given his situation — he could just be in hard denial about it because the thought of them having been suffering with him gone and being punished for his actions is so horrific he just shuts it down — but there’s never any sense that that’s what’s really going on. We don’t see him privately upset about the possibility later, for instance — he just keeps insisting the same and dismissing Svetlana to Florence, too. We know it’s not that it’s true — we see Svetlana admit to Molokov that even though he ruined her life and she never wants to see him again she still loves him, and we hear her sing “Someone Else’s Story” and “I Know Him So Well”. Nor do we ever get any hint at exactly what Svetlana or his kids did to make him think this of them, if anything (his own kids!). Anatoly just seems to sort of bitterly, adamantly believe this for no reason at all. And that makes it impossible to empathize with. Okay, sure, Anatoly, you were taken from your family as a child, but that really doesn’t even start to explain any of this. There could have been ways of making it feel at least believable, tragic in a deeply fucked-up way, but the story here just doesn’t do the work. And once again, Anatoly being so unpleasant for no reason just makes it harder to feel at all invested in his relationship with Florence or sad when they part.

The best fix here isn’t quite obvious, and I can’t say I envy Danny Strong trying to put all his neat little ideas together and make them work. If Anatoly were to appear substantially conflicted about Svetlana and put any real stock in Molokov’s threat, that would render “Endgame”, where he doubles down anyway, kind of jarring and inexcusable as he’d be not just refusing to return to her but refusing to care if she is killed. So in order for this to properly work with “Endgame”, he probably does need to be very deep in denial about whether they’d really kill her. I think what I would do, if I were writing this plot where groomed-as-a-chess-champion Anatoly knows the Soviets killed Boris Ivanovich and they’ve threatened to kill Svetlana too, is to emphasize better how irrational Anatoly is being and try to show it more as a consequence of growing up among the constantly plotting KGB.

Let him go off on a proper paranoid rant to Florence about the reasons why he thinks Svetlana is just plotting against him, and some innocuous things he saw his kids do once that mean she brainwashed them. When Florence tries to challenge him on how batshit he sounds, he just storms out, saying she’s being taken in by their lies and just wants to sabotage him, and disappears — and she doesn’t see him again until he appears at the final game and plays this manic, desperate match while insisting to himself that Svetlana and Florence both just never understood him and hated his success. Afterwards, we can perhaps see him finally, quietly asking Molokov if they’re really going to kill her, showing that on some level he already knew the threat might be real and had just firmly blocked it out (in the actual ending as it is Molokov simply tells him unprompted that she really will be punished unless he comes back, and he just asks why with no addressing of his previous adamant insistence that that wouldn’t happen). His and Florence’s final conversation could then involve a bit more of a reckoning with that and with what his relationship with Svetlana was really like, through a more honest lens.

I’m actually pretty tickled by this scenario because that would really drive home a pretty fun parallel between Anatoly and Freddie — which in hindsight I think this version must in fact have been trying for, but didn’t quite do in a focused enough way for it to really hit. Anatoly and Freddie are both chess players with deeply abnormal childhoods and bouts of paranoia that cause them to behave in toxic ways, which ultimately drives Florence away from both of them.

This production shows the first chess game as the “Chess Game” instrumental playing under Freddie and Anatoly having alternating inner monologues about the game and their issues, deliberately drawing a comparison between the two of them; they both say they hate chess, that they don’t feel like real human beings. It’s not exactly subtle, but I liked the way this was used to build up their respective brain gremlins and was intrigued by the parallel being set up. I didn’t feel they ultimately did much with the parallel, though, because the story then didn’t really continue leaning into it much from there. By emphasizing this Anatoly’s paranoia as paranoia and not just as him legitimately thinking the marriage was never real and the KGB wouldn’t kill her, we could properly build the story around that parallel, and I would genuinely dig that.

The one place after the chess match where the actual thing does sort of try to get at the Anatoly/Freddie parallel again is in the dialogue scene that precedes “Endgame”. This scene is not sung (though it has the “Chess Game” instrumental in the background, which connects it neatly to that previous bit comparing the two of them), but it’s clearly based on “Talking Chess”: Freddie approaches Anatoly to tell him Viigand’s weakness lies in his King’s Indian Defense, and:

ANATOLY: Why are you helping me? FREDDIE: Jesus Christ! Am I the only one who cares about this game? ANATOLY: It’s more than a game now. There is so much more at stake than who wins or loses. FREDDIE: No! No, winning is everything. Fuck politics! Fuck the KGB, fuck the CIA, fuck them all! We are the ones who have dedicated our lives to chess. We are the ones who have given up everything for greatness — our childhoods, our sanity, our loves. Anatoly, we’ve sacrificed everything. They’ve sacrificed nothing. What’s the number one rule of a chess champion? ANATOLY: Play to win. FREDDIE: As long as you do that you can never lose, even if you do.

Much as I love “Talking Chess”, though, this on the surface similar scene just didn’t feel right in this context when I listened to it. In Anatoly’s last scene here, he told Florence firmly that he just wanted to win and that his marriage with Svetlana was never real and it’s all KGB mind games. Him going “It’s more than a game now, there’s so much more at stake” suddenly now comes out of nowhere — if he believes that now, it could only be if he actively reconsidered something offscreen, but he doesn’t say anything elaborating on what he’s thinking now or what he might have reconsidered or why, just that vague, generic line that contradicts everything he’s expressed up until this point. It’s another example of Anatoly’s dialogue just feeling really flat and meaningless to me — his lines here don’t say anything, just serve as vague filler to prompt Freddie onward. And because unlike London proper the setup leading up to this is all about him already being absolutely determined to win the game at all costs, this just feels redundant, unnecessary, going through the motions of something that’s in London without realizing that with the changed context it doesn’t quite make sense anymore.

I think that’s unfortunately the case with Freddie a bit here too. I enjoyed Act I’s quite different take on Freddie, and his establishing narration for Act II petulantly stating Anatoly won the championship last year “by forfeit, I might add”, and “The Interview” is recontextualized in a very fun way as I mentioned before — but after that it feels like Danny Strong doesn’t quite know what to do with Freddie anymore and just has him sort of arbitrarily go through the motions of London in a way that doesn’t necessarily hang together with everything he’s established of Freddie so far. It made sense that this Freddie, despite being decidedly hostile towards Walter and the CIA, conducted the interview to show Florence what a bastard Anatoly is — he’s not doing it for Walter, he’s got his own reasons to want to do it once Walter’s shown him the Svetlana video. But I find it a lot harder to swallow that this Freddie — whose usual problem seems to be that he’s compulsively blunt about how he really feels — would then be easily persuaded to play his part in “The Deal”, which involves exaggeratedly trying to be all buddy-buddy with Anatoly. Maybe if there was better setup around it, like with “The Interview” — but “The Deal” only has seconds of kind of half-assed leadup here, and from there it moves directly into “Pity the Child” (after a segue featuring the recording of Oppenheimer quoting the Bhagavad Gita, because nuclear war).

Freddie’s next appearance after that, then, is this “Talking Chess”-esque dialogue where he’s realized the parallel between the two of them, how they’ve both sacrificed everything for chess and the political schemers have sacrificed nothing and that’s why he should play to win. I can appreciate how the low point of “Pity the Child” would trigger that particular realization, contemplating how much he lost and sacrificed to achieve his status in the game and perhaps afterward realizing Anatoly is the only other person here who might understand that. That feels like it basically tracks and is interesting.

But… it also means that fun very specific contempt for Anatoly in particular based on him having left his family like Freddie’s own father did is just kind of… gone, I guess, or at least Freddie doesn’t consider it relevant enough for it to stop him from going out of his way to pep Anatoly up for the game with no mention or hint of it. (At least Freddie probably isn’t aware of the threats made against Svetlana in particular, so he doesn’t know Anatoly winning would shatter his family even further.) And we’ve lost the bit in “Talking Chess” where the notion of the political scheming actually leading to Viigand winning the match just personally offends Freddie because Viigand is not even that good; instead Freddie is just putting forward “Play to win” as some kind of general inviolable chess principle, which is kind of generic and not nearly as characterful, in my opinion. I’m not saying we ought to have had the “Viigand is mediocre” bit here — I don’t think it would quite fit in for this Freddie, whose feelings about chess itself are very conflicted and who is more concerned with showing up these political hacks who have sacrificed nothing while they sacrificed everything — but as a Freddie moment I would really have wanted to end on something stronger there than this vague assertion that “The number one rule of a chess champion is to play to win.”

Like in London, this is Freddie’s last substantial scene, but he does have a part in “Endgame”, and it’s also an interesting one: he gets Sixty-four squares / they’re the reason you know you exist (but not the preceding How straightforward the game…), but also a couple of other verses usually sung by the chorus, and the lines he gets are clearly very purposefully chosen to reinforce that final resolve regarding the sacrifices they’ve made for greatness, which I really appreciate: Listen to them shout / They saw you do it / In their minds no doubt / That you’ve been through it / Suffered for your art and in the end a winner and They’re completely enchanted / But they don’t take your qualities for granted / It isn’t very often / That the critics soften / Nonetheless, you’ve won their hearts / How can we begin to / Appreciate the work that you’ve put into / Your calling through the years / The blood, the sweat, the tears / The late, late, nights, the early starts?

All in all, Freddie is still definitely my favorite part of this Chess, but while the parallel itself is neat it’s too muddled and I find the second half of Act II pretty uneven for him. What would I do if I were writing this bit?

I’m not totally sure how I’d want to tackle “The Deal”, but as for the “Talking Chess”-but-not scene: I would ditch the bit where Freddie is trying to advise Anatoly on strategy and the bit where Anatoly is apparently suddenly not determined to play to win just so Freddie can then tell him he should be again. None of that is contributing anything in what this version has been building up. Instead, they just sort of bump into each other, Anatoly fresh off his paranoid rant to Florence about Svetlana, Freddie fresh off “Pity the Child” and the strange realization Anatoly might be the only person who’d understand him a little bit. At first they just sort of stop and look at each other. Freddie starts, guarded, with some kind of oblique accusatory prod about the leaving his family thing, which he still deeply resents.

Anatoly has calmed down now, but he tells him what he told Florence: that it was always a fake marriage, a fake family, that the video was just a lie set up for him by the KGB, that Svetlana had brainwashed their children to despise him.

This incidentally plays into Freddie’s existing preconceptions pretty well. He’s probably not instantly convinced but it checks out enough he’s willing to reluctantly leave it alone for now. Probably mutters something like, “Fucking Soviets.”

Anatoly says something like, aren’t you going to try to make me a deal to get me to throw the match and go back? Freddie says no, fuck that. Says the whole bit about how we are the ones who have dedicated ourselves to chess, who have sacrificed everything, childhood, sanity, love, and they’ve sacrificed nothing. Why should we listen to those CIA and KGB assholes? Draws out that parallel. The two of them are probably standing in symmetrical positions on the stage.

Anatoly just nods slowly, agreeing. “I would have beaten you.”

Freddie scoffs and says, “Dream on,” but not quite with the spiteful arrogance he would’ve said it in Act I.

Then they part, and we move on to “Endgame”. The scene isn’t about Freddie helping Anatoly, or about Freddie convincing Anatoly to go for the win; it’s about the Freddie/Anatoly parallel, about Freddie realizing it and in his profound loneliness finding a smidge of connection with this guy he hated because he’s the only one who sort of Gets It, and about showing how Anatoly’s conviction has developed since the first chess match where part of his inner monologue went, “I can’t beat him, he’s too good.” Anatoly is so ready to prove that he really is the world’s best chess player.

Conclusion

Man, this version is so interesting. It’s a mess, but it’s a fascinating mess with a bunch of tasty potential and a real sense that Danny Strong had some genuine thoughts on what the show was missing and how to rework it to fix that, even where his attempts were ultimately confused and don’t succeed. In some ways it’s the most me-core version of Chess and in other ways it’s deeply antithetical to me and in most all ways it’s trying to do something neat but does it in a flawed way. Special shoutout to this Freddie, who honestly deserves better than this Florence.

#musicals #chess musical #chess the musical #ramble #review

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lixieisgod · 1 year

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More eren x Caribbean girlfriend pleaseeeeee

𝐘𝗼𝐮 𝐌𝐞 𝐋𝐮𝐯 #!

𝐧𝗼𝐭𝐞𝐬⤷ y’all melted my heart when I posted pt.1. y’all don’t know how happy it makes me to know that you feel represented. hope y’all like this one 🥹💕! apologies for the late response but classes have been kicking my ass. anywayss like always repost and comment if y’all like it. 🫶🏽

𝐬𝐲𝐧𝗼𝐩𝐬𝐢𝐬⤷ 𝐄𝐫𝐞𝐧 𝐘𝐞𝐚𝐠𝐞𝐫 𝐱 𝐂𝐚𝐫𝐢𝐛𝐛𝐞𝐚𝐧 𝐑𝐞𝐚𝐝𝐞𝐫 𝐩𝐭.𝐭𝐰𝗼

HARDCORE SHENSEA STAN just know “if yuh dis shenyeng a buss head”! he knows every lyric to ever song. when you saw one of your male friends in public and gave him a hug before returning to eren he gave a side eye and started singing “this an original sideman song mi open up mi feeling to a next man gyal” before he bursted out laughing.

loves fried plantains, hates frying plantains. it’s like an unspoken rule that he is not going to fry them without supervision. all because of the time he was watching them fry and his phone rang to he picked it up for like 2 minutes and when he got back they were burnt. He was sooo mad. frying plantains is like ptsd for him now lol, but he devours that shit.

he loves taking you on boat rides so you guys can snorkel and watch fish together. he’s a really good swimmer and has a thing for the water.

this hungry ahh eren. he is a foodie fss. he randomly craves fried bread fruit and cold tampering juice at random times. like in the middle of the night, one time your phone rang and it was a video all from eren and as soon as you answers it was him outside next to a tree saying “ i’m deadass about to climb a breadfruit tree right fucking now” and you were half asleep confused as fuck because who the fuck wakes their girlfriend up to say shit like that.

he lives for a good family beach party. when your family decide to load up the vehicle with a grill and cooler to head to the beach there’s always an invite for eren to be there. he catches fishes on the rocks with your uncles and helps your aunts clean them. he’s very helpful and respectful that’s why your family has taken such a liking to him. he makes a firee fish sauce, he can also grill really well.

surprisingly he’s really good a cricket, you though he was more of a football person until you saw his hit a six out of the yard. he plays cricket with your uncles and cousins all the time. when it’s cricket season he’s got tickets to every match. he even flew the two of you out to watch a match.

round di island fienddd he loves visiting all the cool places around the island. he loves the adventure and being able to gain knowledge about where you’re from. plus he gets to blast music while driving around so that’s a bonus.

spicy mango in sauce and mango chutney is one of his favorite things to exist. it’s one of yours too so there’s always some sort of spicy mango chutney laying around. ever since your mom taught him how to make it it’s been his favorite snack.

he loves water and parties so yk ehat that means, he obviously loves a wet fette. he pulls up with his shorts, sunglasses and cold Heineken in one hand and the other around your waist ready to party.

frozen homemade sorrel on holidays have his heart. he knowsss it’s an important ass occasion when there’s sorrel around. he drinks his weight in sorrel, spice rum, and peanut punch during the holidays.

#lixieisgod🪐#lixie’s astroworld👩🏽‍🎤🪐#aot hcs #attack on titan #eren x reader #eren x caribbean reader #eren yeager x reader #eren yeager x y/n #eren x fem!reader #eren yeager aot #attack on titan x black reader #aot x y/n #eren x you #eren yaeger headcanons #eren yeager x black reader #eren headcanons #eren hcs

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thv-jk97 · 3 months

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Sharing my thoughts about the negative take from that H*BE stylist about LWA because I need to put them somewhere, so forgive me for this post. For context, the stylist said that the MV is using disabilities and those who face discrimination as inspirational material and that they’re “romanticizing disabilities”, and while I can genuinely understand what they were trying to advocate for, their take also completely ignores massive elements of the MV as a whole, whilst also making grand assumptions about the artists (Tae and IU) that they cannot possibly know.

Listen, everyone has the right to interpret any piece of content how they see it and they’re also entitled to feel how they feel and share their opinions, but it becomes problematic when they start making baseless assumptions along with the point they’re trying to make. Claiming that IU and Tae are rich cishets with no disabilities(implying that they are privileged and not discriminated against) is such a WILD assumption to make (let’s not forget that IU does actually have a hearing impairment).

I do think that there should be conversations about who should be able to tell what stories or portray what character, especially in huge projects in mainstream media, but there has to be room for flexibility. Are we going to require people to reveal everything single thing about themselves in order to prove that they can represent a specific demographic fairly? That’s a completely unreasonable expectation, and in some circumstances, it could literally be unsafe. And their assumptions do not contribute to a constructive dialogue about this topic at all.

Not only that, but their critique sort of implies that the MV equates having disabilities to being a victim, but that isn’t what I personally got from the MV. Their characters literally fight until the very end, in their blind and deaf/mute states, and are never actually shown as weak. And it’s just another assumption that the “love filter” takes away their disabilities, when in reality, IU still uses sign language even when Tae is looking at her through the camcorder – what is shown is a world where they don’t have their injuries anymore (injuries that were sustained in this dystopian world) and their lives are more than just fear and running. The concept of “love wins all” is that they made it to the very end of the world together and are ultimately taken out by the shittiness of this world that they’re living in – not by their disabilities.

The stylist also goes on to imply that the ambiguity of the MV is an issue because they end up wearing traditional hetero outfits (since when is sexuality linked to pieces of clothing?), and if it were meant to mean something to the queer community, they wouldn’t have included that. Which makes no sense because that’s the beauty of art – it’s meant to be interpreted however the viewer sees it, and so many people in the queer community did actually take comfort in the symbolism they interpreted from the MV.

To be honest, I can’t help but question the motive of their rant, because from where I’m standing, this person works for a billion dollar company that literally capitalizes on using the queer community for good sales (fanservice, etc)(mind you, this is only one of H*BE’s many offenses) so their issues with this metaphorical MV seem to be a bit selective (aka taking issue with things that don’t affect their livelihood). Also gonna add that they literally have posts supporting Zionists (who raised money specifically for the IDF), so it really seems like selective activism atp.

Tae and IU have both consistently shown that they are massive advocates of inclusivity and equality, so to be accused of exploiting minorities and their struggles is actually so upsetting. People can label it whatever they want, but IU’s decision to change the title of the song was not about “saving face”, it was showing empathy for a minority when she learned that they were bothered by the original title. And for this person to insinuate that Tae and IU are tone deaf and clueless to the strife of those who have been discriminated against is just plain disrespectful and such a projection based on their own personal interpretation and assumptions.

Anyway, sorry for this long-winded post. There’s never a day of peace and I am siiiiick of it.

#rambling thoughts #love wins all #mv discourse

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thats-not-okie-dokie · 1 month

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WELCOME HOME MARCH 9TH UPDATE SPOILERS!

One thing I don't think people are talking about enough is Wally's phonecall and the song choice of "Toyland". I know what Eddie went through is certainly the meat of the update, and while I haven't picked it apart myself, I've read a TON of very interesting theories on it. And some of which I agree with, so for redundancy's sake, I won't dwell on it for long. Whatever happens next, I know our beloved mailman is not okay-

But this post isn't about him. I bring up the song choice of Toyland because I find the lyrics to be an interesting parallel to the puppets "waking up" to the real situation they're in, whatever horrors that may be. The fact that Wally's singing it, and that we know he's been the first and only puppet with full awareness and with the ability to contact the outside world, makes the song feel a little somber upon a relisten.

The song describes Toyland as "childhood's joy land", and "once you dwell within it, you are ever happy there". It reminds me of the world the puppets inhabit; made for children and a place of warmth and joy. Then, the song describes "once you pass its border, you may ne'er return again". I think this signifies how Wally woke up from the happy puppet world. It represents him self-actualising. He can't fall back under the illusion, because now he knows too much. It'd be impossible to go back.

The saddest parts to me are in the second verse. "When you've grown up, my dears, and are as old as I, you'll laugh and ponder on the years that rolls so swiftly by, my dears" It represents just how much time has passed since the shutdown of the Welcome Home show. It's been almost 50 years. The years are passing so fast to him because it's the same old every day, and he can't help but laugh along because there's not much else for him to do. And besides, we've seen what happens when Wally experiences negative emotion. He has trouble processing it.

Besides the song, I also find the line "It's so quiet during Homewarming" to be quite odd. Homewarming is their equivalent to Christmas, right? That's supposed to be a time of togetherness and cheer. Music, laughter and merriment. But he describes it as "quiet" because everyone's busy. That seems like an antithesis of what Homewarming should be. Why is it just him and Home for so long? Why is the neighbourhood divided during what should be the liveliest time of the year? This might be a factor as to how the neighbourhood's getting distorted away from its original teachings and character. Instead of a lively cast of puppets, it's become cold and quiet. Eerie. Wally saying he doesn't want to hang up the call makes me think he feels very lonely. He has friends, like Barnaby, but he's separated from them for long periods of time. I feel like the phone calls are him trying desperately to connect to someone before he's dragged away again.

I also find it odd how he's usually so busy if it's just him and Home. Just what is he always doing, if he's not with his friends? I know that the phonecall ends because he has his adventure with Barnaby, asking around the neighbourhood for what Homewarming truly means, but what about the previous times? He always seems to be in a rush. And what do we hear before he hangs up? The creaking of Home's door and windows. It's like his own home is isolating him.

That's all I have on Wally. Maybe I'm just repeating what people have been saying for a long time, I don't know. But thank you to anyone who sat down to read this! I appreciate it :)

#welcome home #wally darling #welcome home puppet show #welcome home arg #welcome home wally #theory talk #theory time #wh theory #welcome home spoilers #wally phonecall #I also have a theory on Sally #I might talk about it later if people are interested

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swiftllama · 8 months

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August Compliments ☀️🔍

[Compliments Masterlist]

Hello everyone! So this is the continuation of the first Compliments Post I made and a round up of the compliments from August 2023.

So let’s jump in shall we!

August 2023

Starting off the month we got a double dose 4 days into the month. And it actually comes from Ian!

What Would Our Warning Labels Say? | Let’s Get Talking

Ian, Shayne, Courtney, and Angela all played a Q&A style game where Ian gave some answers relating to and complimenting Anthony :-

I should also say the time stamp title for this question in the video is ‘Who Are Our Fave People’ 🥹

Q: “Who do you admire the most?”

Originally Ian agreed with Courtney’s answer of Amanda but never expanded on why and gave a very Ian answer of “things like that [what Courtney said]”, before changing his answer :-

Ian: “I have a different answer actually - Anthony.”

Courtney: “Awwww!”

Courtney being the resident Ianthony fangirl once again and representing us all 😌

Ian: “I think because he was always - until towards the end of his time at Defy he wasn’t a hundred percent in it, but before that with the sketches and now that he’s back, whenever he’s doing something, he’s a hundred percent into it. He’s fully committed. He’s willing to do whatever it takes to make sure it’s the best it can be.”

I know we don’t get it as often from Ian, but these little tidbits that we do show that the appreciation for Anthony is there just as much as Anthony’s is there for him. Ian just expresses himself in different ways. He actually mentions similar thing when it comes to himself and showing outward excitement even when he is excited and Courtney chimes in with how she has seen him showing his excitement outward and how she’s seen it “especially lately” 🥲 I made a post with the clip at the time which you can find here.

Another little moment from the video that is compliment-adjacent I’d say since I think it says a lot about who someone chooses as their answer to the question :-

Q: “If you had to be handcuffed to a person for a week, who would it be and why?”

Ian: “I guess I would say Anthony, because I feel a lot of the video ideas that we came up with back in the day was just out of boredom of being around each other a lot and we’d just come up with a video idea. So I feel like being handcuffed to him for a week would give us an opportunity to come up with a lot of ideas for sketches.”

Okay, so again in typical Ian fashion we gotta read between the lines a little on this one 😅 Ian doesn’t like to get mushy as we know so his reasoning being “coming up with video ideas” doesn’t surprise me lol. But I think the first part of his answer gives a lot away - having someone you can be bored with says a lot. That’s a very specific level of comfort with another person. Not to let my swiftie side show on this post lol but there’s a lyric Taylor has from her song Peace that perfectly sums up what I mean by this

“Give you the silence that only comes when two people understand each other.”

That’s what I mean. Someone you can be bored with and it’s still a good time, there’s no awkwardness, you can sit in silence because it’s enough to just be existing in the same space that they are.

Moving on from the Games video.

Variety Article (aka Blue Dot Gate)

On the same day, Variety dropped an article with Ian and Anthony, and for some reason Ian had blue dot on his face in the photo that was used for it 🤷‍♀️ Ian was just as confused and so took to his Instagram Story :-

And Twitter :-

But Anthony was quick to show his support 🫡 :-

SLEEPWALKING DISASTER! Watch Party

So during the livestream someone in the chat says that Ian should change his profile picture in the Smosh Royalty discord server to the one of him with all his cross-country medals from his high school senior portraits. He’s got a really terrible haircut in it 🙈 He does find it funny but I’m not going to share it because I know part of him hates it and I feel bad, but it is out there so you should be able to find it if you’re curious.

Anyways, they’re joking around about it and Anthony’s (affectionately) taking the piss out of him for it.

Ian: [explaining the photo] “So I was posing with all my cross-country medals; Cause your boy is a freakin’ champion. No, not really.”

Anthony: [in cutesy voice] “Yeah you arrree.”

Ian don’t you know by now that Anthony will not allow you to downplay your accomplishments! 😤

Anthony: [finds and shows the photo to the camera] “Why did you take a photo with all your medals?”

Ian: “Cause I didn’t accomplish much else [in high school]...”

Anthony: “Awwwww no, yeah you did!”

IAN STOP BEING MEAN TO YOURSELF THATS SO SAD 😩

Glad Bestie Anthony is on hand 🥺

Assassin’s Creed 3 Song - Flashback w/ Smosh Ep 1

First episode of their new podcast brought forth a few little complimentary moments :-

Ian: “I look so adorable here [the screencap above].”

Anthony: “Yeah, you look so cute.”

Anthony: “Awww, Ian being a soft boi”

Plus the little hint of a smile on Anthony’s face seeing baby-face Ian ☺️

That Smosh Guy - Ian Hecox Interview | How Famous Is Jirard?

Another little compliment from Ian sprinkled in the month. Nothing major, just wanted to include it. He went on this podcast and talked about Defy and how what Smosh became ultimately led to Anthony leaving.

Ian: “So after the years of doing all this extra stuff that Anthony felt like wasn’t really core, I think it just really wore him out, and the thing with Anthony is that - if he has a project, he’ll put his whole heart into it.”

Just thought this was nice little one to include since we’ve had a lot of Anthony recognising Ian’s work ethic, so why not the other way round for a change? I think it’s also another example of why their dynamic works well, especially since Ian goes on to say that he’s not like that, and that if he’s not feeling a project he won’t put all his efforts into it. I feel that must balance them out well - that if Ian isn’t really feeling something but Anthony is he can encourage Ian to see the potential in it, and same goes for if Anthony’s putting too much pressure on himself to create something perfect when he doesn’t necessarily need to, Ian is able to pull him back and recognise that he doesn’t need to burn himself out.

Roasting Each Other’s Cringey Tweets (You Posted That)

They brought up the ‘baby more like daddy’ tweet that I included in the first compliments post. And what did I say about how the period of time when Anthony kept complimenting Ian on social media before their reunion stood out to me. Now we have confirmation that, as Erin dubbed it in have video, they were “soft launching” the fact they were talking/friends again.

Ian: [tweet shows on screen] “So I said ‘Baby’s first chain’. Ha ha [fiddles with necklace] now I’m a chain boi.”

Anthony: “Awww.”

Not really a compliment, just thought it was cute lol.

Anthony: “I remember this was my first time ever publicly supporting you.”

Ian: [smiles] “Noooo, that’s not true.”

Oh 🥺 I don’t know what to call this moment exactly? Almost like the shoe is on the other foot? Ian not allowing Anthony to paint himself in a bad light by saying this was the first time he ever showed support to Ian publicly. I agree with Ian that it definitely isn’t the first time over the years but obviously the ‘between years’ caused a big gap and the years before I think it’s clear from what Anthony said in the journal video about not praising Ian enough in the past that he feels bad about that and it’s why he’s so vocal now in supporting him - to make up for that.

Anthony: “It’s [the tweet] something like ‘daddy likey the blingy’.”

Not Anthony lying to try and save face 🤭 he knows exactly what he said! That man remembers the most random, minuet details about things - especially when it comes to Ian. He just doesn’t want to admit he has a thing for calling Ian ‘daddy’ 😏 it’s okay Anthony, you can embrace it, we get it.

EVIL AI TRIED TO KILL ME! Watch Party

Someone in chat congratulations Anthony for being nominated for a Streamy and the boys talk about how they’ve got suits for it and then proceed to go back and forth saying how ‘good’ and ‘hot’ they’re going to look - Which indeed they did 😍

Someone in chat then asks if their suits are matching.

Anthony: “Matching suits? No they’re not matching. But they do look really good together though. They vibe well together.

I don’t think that’s the suits Anthony, I mean they help, but that’s all Ian and you. They look good and they vibe well together 😌

Anways, that was just a fun little one!

Moving on…

Ian ‘Cupid Shuffle’ Hecox

Ian blessed us with this Instagram post of him busting a move and looking 🔥 at Kimmy’s wedding :-

And of course Anthony couldn’t help himself :-

Streamys 2023

We didn’t really get much from the Streamys (not even Anthony winning 😤) but there was one little moment that happened early on in the show where they mentioned OG YouTubers and a clip of Ian from Food Battle 2012 where it looks like he’s doing ‘questionable things’ to a doughnut plays on screen.

Now obviously I don’t know how Ian felt in that moment having that play, but I think anyone would feel a little under the spotlight, especially given the context of the clip and how for people who’ve never seen FB or Smosh it must have been fairly confusing lol.

But no worry, because Ian’s no1 fan was sitting right there next to him. From the audience, over the people laughing and a few claps, you just hear Anthony’s voice yell “YEAH!” with his hand raised in the air :-

Always there to be Ian’s cheerleader 🥹

Anthony Plays Smosh Hide and Seek

So this was just a silly little moment, that again is more compliment-adjacent but still thought it deserved a little shoutout to close out the month.

In the hide and seek video Anthony and Ian are down to the last remaining few people to try and find - one of those being Chanse. Earlier in the video Anthony had checked the clothing racks and not found anyone - Ian wanted to allow him to seek his own as it was his game, but since they were having to re-check where they’d already been Ian decided to help him out, and low and behold, he found Chanse 😆

Anthony couldn’t believe he’d missed him!

Anthony: “That was such a good spot, holy shit! And your feet being in this bucket - holy shit! I would have never found you. Ian, damn, you found him!”

Literally just thought this was cute of Anthony giving Ian the recognition of finding him and that he wouldn’t have been able to without him. That’s all. Have no more thoughts on this one lol.

And so August slipped away into a moment in time…

Hope you enjoyed reading and I shall see you next time!

#smosh #ian hecox #anthony padilla #ianthony #☀️🔍#ian and anthony #smoshian #smoshanthony #ianthony compliments #my posts

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jokeroutsubs · 3 months

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[ENG translation] "Joker Out: We won't make dolls out of ourselves"

This is an interview with Joker Out that was published the day after the Misija Liverpool programme, where they presented Carpe Diem for the first time. We're posting it to commemorate its one year anniversary!

Original article published in Delo newspaper on 5.2.2023, available online here for Delo subscribers. Article written by Gašper Završnik and Agata Rakovec Kurent; photos by Voranc Vogel and Katja Kodba; English translation by a member of Joker Out Subs, native proof reading by IG GBoleyn123. Also available in audio version on our podcast, read by IG GBoleyn123.

After conquering Slovenia, Joker Out, currently the hottest Slovenian band, is now also conquering the world. They talked about recognisability, Eurovision, and days that should be seized.

Singer Bojan Cvjetićanin, guitarists Kris Guštin and Jan Peteh, drummer Jure Maček and bassist Nace Jordan are Joker Out, currently our most in-demand musical fivesome. They've almost sold out the concert in Stožice in October already, and it seems like the boys have already reached the sky as the limit in Slovenia. Now, it's time for the world. Yesterday evening, in the Misija Liverpool ('Mission Liverpool') programme on Televizija Slovenija ('Television Slovenia', Slovenian national TV), they presented Carpe Diem, the song with which they will represent us at the Eurovision Song Contest in Liverpool in May, for the first time.

Select members of the media already heard it a week before, at Saturday's recording of the programme, and we had the chance to talk to the band members afterwards. We talked about looking for the Eurovision formula, about what one has left after Stožice, about the burden of fame, as well as about how we should love, dance, enjoy, and care for one another while we can.

When did you warm up to Eurovision, which is often kind of stigmatised among rockers? Did the success of Måneskin perhaps have something to do with it?

Kris: We've been warming up our whole lives, because we're all pretty fervent Eurovision fans. I make time every May to watch the semi-finals and the final. We didn't go to Eurovision because Måneskin made it. They did prove that Eurovision is not as limited in genre anymore and that rock bands can participate too, but we're going to Liverpool because it's now the right time for us to start expanding our horizons outside of Slovenian borders, and Eurovision is the most optimal thing we can do at the moment.

Today (a.n.: we talked on Saturday, the 31st of Janurary) you presented the song to the audience in the national television's studio, in one week, all of Slovenia will hear it for the first time. How are you feeling?

Nace: The best part was standing on the stage when we played the song for the first time.

Jure: That's true, so much effort suddenly paid off.

When did you make Carpe Diem?

Bojan: The song was recorded in December in Hamburg, and the final mixings or masterings were happening all the way to the finish line just before the show, but it's always like that. We've listened to the song a million times, and when we played it for the first time, I was still proud of this song and I still liked it. People visibly reacted to it very well, and then audibly too. What more could we ask for?

What is the main message of the song that you wish to impart on expanded Europe and Australia?

Jan: Let's love, dance, enjoy, and care for one another while we can.

Kris: Despite the hostility that surrounds us.

With that, do you mean the Russian aggression in Ukraine?

Kris: Not necessarily.

Jan: Not explicitly. Anything that gives rise to thoughts that do no good.

This time, when you were creating, did you have a different audience in mind, were you searching for the Eurovision formula?

Jan: While making the song Carpe Diem, we were mainly thinking about how we must not focus on the fact that it's a Eurovision song. We wanted to make a song that is ours and represents us. Our purpose isn't just to go to Liverpool, rather, we want to present ourselves to the wider European audience, and I hope that they will accept us the way we are as much as possible.

In Slovenia, you're the hottest name on the scene right now. Isn't Eurovision, where, after all, you could also come 27th, a risky move? Why not just rest on your laurels?

Bojan: I think that resting on our laurels, especially at our age, would be the worst possible decision. It would make us a band that isn't in this business because they want to create, but a band that wants to rest on laurels.

Even if we happen to come 27th, it absolutely won't devalue everything we have managed to do so far and are planning to do in the future. This is just another competition and in fact, someone has to be 27th, that's a totally normal part of life. If it happens, we will definitely be sad, broken-hearted, and stricken, but it won't crush us.

A promotional tour awaits you as well; you're supposed to perform in Madrid, Barcelona, Warsaw, and Amsterdam. What else are you preparing to make Europe and the bookmakers pay attention to you before May?

Kris: If anything, we will convince the media when they get to know us and get an idea of who we are and what this thing even is, that we call shagadelic rock'n'roll. Madrid, Barcelona, Warsaw, and Amsterdam offer an excellent chance for us to showcase ourselves to international media, which is a very important aspect of getting votes for Eurovision, as well as establishing an image and a backing before you step onto the big stage.

Jan: Anything we say, release, or present will be genuine and honest. We won't make dolls out of ourselves. We want Europe to get to know us as we are.

One of the important aspects of Eurovision, in which Slovenia almost never stood out, is staging. How will you approach that, what will the core idea be? The Eurovision stage offers pretty much anything a musician can think of.

Kris: You can do anything if the budget lets you. The performance is for sure one of the most important things, but up until this moment, when we finished filming the show [Misija Liverpool] and the music video, we haven't focused on it yet. On the 4th of February, we will start intense rehearsals, we have some basic ideas. We want to build on the chemistry of our performance, more so than on glamour, confetti, and lights.

Jan: Being able to invest millions into the staging and public relations certainly doesn't hurt. We, however, definitely don't have them, so we will try to convince the audience with a good idea, a bit. We haven't been able to focus on that yet due to other obligations, though.

There's been some controversy over the fact that RTV (Slovenian national television) invited you to participate without you having won EMA first, as there is no Slovenian national selection for Eurovision this year. What can you say about this controversy, were you planning to sign up for EMA this year if it had happened, and is a direct invitation the optimal way to choose the Slovenian Eurovision representative?

Kris: Depends on who you ask. It might not have been optimal for us either. If we won EMA, going to Eurovision would be easier for us, because the song would've received more tangible support from the Slovenian public. As it is, we feel much more pressure to prove ourselves.

Jan: On the other hand, I don't remember a single EMA winner who was accepted by the majority of the public. Whoever won in the past 15 years that I've been following EMA got dragged through the mud. Unfortunately, this is something that's hard to avoid.

Kris: EMA and Eurovision are divisive things. Any way you slice it, someone will always be against it and someone will be for it.

Bojan: Our plan was to sign up for EMA this year, and then we got the call that we could go to Eurovision if we wanted. We wanted to go and that is why we're going. I have also said a few times already that EMA, back when we started watching it, used to be a prestigious event that the most successful and promising musicians signed up for, but in the recent years, that has absolutely changed.

My personal opinion is that just because you have a song and can sign up for EMA, that doesn't mean you've been robbed because there's no EMA. Something that has kind of spread around is that we have a lot of musicians who aren't actually active, but rather wait for EMA every year. They don't have concerts or other events in Slovenia and they practically only appear in tabloids.

I'm very sorry if we offended anyone, but I did get a lot of messages from the musicians that we, and I think most of the Slovenian audience as well, value the most, and they very much support RTV's decision.

Why will you sing in Slovenian and not in English? Is that smart?

Jure: I think that is the best decision we've made. We're representing Slovenia and we want to stand behind that. More people would probably understand us if the song were in English.

Bojan: Probably. (laughter)

Jure: I think that our song and our energy on the stage will show enough to make a good impression.

Bojan: If we got this opportunity and honour of Slovenia sending us to Eurovision directly, we think it's right to represent it in the local language.

It often seemed like Slovenian representatives were happy just to perform at Eurovision, and often used the smallness of the country as an excuse for their result. This year, it seems like you're approaching things in a more ambitious way, it feels like you're not interested in having a supporting role. Is that a wrong impression?

Jan: If Slovenian basketball players, who won the European Championship, didn't use the smallness as an excuse, then we have no reason to do it either. It might even be an advantage that we are "boutique".

What would be a satisfying result for you in Liverpool?

Jan: We definitely want to get into the final.

Kris: Top five.

Jure: I would consider the final a success. If we get into the final, we'll be more than happy.

Bojan: I'm thinking about a victory, and you can only go downhill from there. (laughter) I think that there's no placement for which you'd say "this is it" at the end, but the fact is that we won't place any better than we deserve.

It's probably not a coincidence that while you were recording the Eurovision song in Hamburg, you also prepared an English version of the album. Is that, as well as the Eurovision performance itself, a sign that Slovenia has become too small for you and you're interested in going abroad?

Jan: Good job connecting the dots.

Kris: Definitely. Our ambition lies in any market that is ready to have us. That's why we also recorded an English album in Hamburg, which will be a compilation of our favourite songs from the first and second album.¹ We will release it right after Eurovision, and until then, we will also present a song that we're preparing in collaboration with a very famous English performer.²

We're not hiding what we want from Eurovision, but it's not the only thing. We also want a good experience and to represent Slovenia with dignity and place high with a song in Slovenian again.

Bojan: The idea of recording in Hamburg has nothing to do with Slovenia being too small, but rather with us wanting to get out of our comfort zone, out of the environment we're in all the time, so to go there and have as much of an open mind as possible.

In terms of going abroad and concerts after Eurovision, we're already making very concrete plans for concerts around the Balkan region, and we've also already started booking club performances during the time we'll be in Liverpool. We're looking forward to going abroad.

Can you perhaps hint which British performer you will join forces with?

Jan: Unfortunately no, but we can tell you that it's not John Lennon.

Bojan, I watched your Portrait with coffee for Barcaffe³ where you also talked about the burden of recognisability. I imagine that you receive a lot of attention from women in particular. How do you deal with constantly being under the microsope from the public?

Bojan: After that interview, a fellow musician came up to me and told me that he completely understood what I wanted to say, but that I should never again in my life dare to complain about it, because it's simply the side product of the thing we're working towards. Ever since then, all I say is: thank you very much to everyone who bothers me. (laughter)

Are the other members also as impacted as the frontman?

Jure: Probably a little less than Bojan, but you can recognise the looks people give you. I can feel that I've started acting differently. I'm more mindful of what I do. I used to go for coffee at a café in my slippers, now I wouldn't do that anymore, though maybe it would be a good joke too. (laughter)

You're in high demand in Slovenia. Are you taking advantage of this opportunity and having concerts everywhere you can, or are you careful not to appear on the scene too much, given the smallness of our market?

Jure: We had a lot of concerts last year, I think we all agree that it was too many, so we won't perform for half a year now. We'll be getting ready for Eurovision, and when we come back, we will have a month-long tour, some good concerts that we like and that a lot of people will come to. After that, we'll have a break again until Stožice, after which we'll have another well-deserved break.

Are you satisfied with the ticket sales for the big concert, which will happen on the 6th of October [2023]?

Bojan: Eight months before the concert, we've sold 7,000 out of 10,500 tickets, from this week on, only the red ring (the highest seats) and a few VIP boxes are available, which means that after a few concerts in Slovenia that have already happened, we have already almost sold out Stožice.

Is there perhaps even a possibility of an additional concert?

Bojan: No, we talked about it, but we made the decision to not do two days. We decided that in particular because of our experience with Cvetličarna⁴, where we didn't have a feeling of absolute catharsis after the first concert, because we were still waiting for the second evening. Instead, we decided that the night after the Stožice concert, we'll travel somewhere warm.

Is having the Eurovision Song Contest in Liverpool this year the right decision?

Bojan: I think that, despite some previous appeals by Zelensky, it would be hard to have it in Kyiv.

Jure: We really like that it's in Liverpool.

You started out as a band very early, when you were twelve years old. What is the secret behind you not breaking up due to all the upheaval puberty brings?

Bojan: It's true that we started at twelve, but from that group, which was called Apokalipsa, I'm the only one left. (laughter) Another member of Apokalipsa was Martin, who left the band last year, after the concert in Križanke, and was replaced by Nace.

The reason for Martin's departure was the biggest show of maturity I've ever seen in a young person. He understood and recognised that his wishes and aspirations in life lay somewhere else than with this band. He called us, told us that, and even picked Nace.

When, at eleven, I told my guitar teacher Pavle Kavec that we were forming a band, and he said that things will definitely start changing at some point, I confidently replied that it will definitely never happen to us. Now I see that Pavle was more than right, which is obvious, since he's an experienced rocker.

Nace, you joined an already established band. Were you worried at all that fans wouldn't accept you, that you will be like something foreign, because you haven't been with them from the start?

Nace: I didn't have that fear. I know that I contributed to the band musically, that they also went a different way with me, which can also be heard in the song Carpe Diem. Maybe I was a little worried about the image, because I didn't know how aligned we'd be in that regard, but I was the most worried about how we'd get along.

I wasn't bothered at all by what other people would think. I was thinking more about how they're having a good time and whether they will also have a good time once I join them. I have to say that the guys immediately accepted me so wonderfully that I feel like I've been with them since I was twelve.

Bojan: We truly feel the same.

The title of your song translates as "Seize the day". How do you do that, and what do you consider a truly good day?

Bojan: A perfect day is different for everyone, and also different every day, and the beauty of it is that with each new day, we can experience our perfect day, but the best day never happens. As we never know what tomorrow will bring, we have to live as if there were no tomorrow.

Jure: But the best thing is when we're together.

Bojan: That is the best thing and the reason this band is what it is. When we had a big concert or a shoot and we were together day in and day out, there wasn't even a day after the project ended when we didn't either meet up at our rehearsal place and hang out together all day again, or pack our suitcases and go on holiday together.

Since Kris's father is our well-known musician Gušti, I'd like to know whether you've received any useful advice from the older music generation?

Jure: I think we blazed our own trail. There hasn't been any advice from Gušti in a long time.

Bojan: Gušti has already told us everything he had to tell us. Soon after we started, he recognised us as independent creators and performers and took on more of a spectator role.

He's always ready to offer us a well-meaning comment when we need it, as well as any kind of help. This band is a group of people that works by its own principles, but we have our circle of people we believe and trust, and that's normal for a team.

We also got a lot of useful advice, which we didn't even know was advice back then, from our older musician friends, but at the same time, they never made us feel like they were being patronising.

How did your musician friends react when they learned that you were going to Eurovision?

Kris: No one will say to your face that it was a bad decision. Most people I talked to, however, find it good that we're finally sending something tried-and-true to Eurovision. I mostly agree with this sentiment as well; but we have read comments on social media and various web portals that...

Jan: ... that Bojan is short of stature with a big ass.

Kris: We even read somewhere that we're going to Eurovision because one of us is the son of Alenka Bratušek.⁵ My dad was getting badmouthed too, as in, "Gušti arranged it all for them." There are various conspiracy theories.

Jan: If Gušti could arrange that, he also would've gone to Eurovision.

¹This interview is from last year; Joker Out later ended up abandoning the idea of an album with English versions of their songs.

²Kris is referring to New Wave, their collaboration with Elvis Costello.

³You can watch this interview with English subs on our YouTube channel here.

⁴Cvetličarna is the venue where Joker Out did two gigs to present their first album Umazane misli. You can watch one of them with English subs on our YouTube channel here.

⁵Alenka Bratušek is a Slovenian politican. She was the Prime Minister of Slovenia from 2013 to 2014 and is the Minister of Infrastructure in the current government.

If you repost quotes from the interview, please link back to this post! And if you repost the photos, do not crop out the photographer credit.

#joker out #bojan cvjetićanin #bojan cvjeticanin #jan peteh #nace jordan #kris guštin #kris gustin #jure maček #jure macek #Spotify

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