#rap vocal improvisation

[doyoulikethissong-poll]

Salt-N-Pepa with En Vogue - Whatta Man 1993

"What a Man" is a song written by Dave Crawford, and originally recorded by Linda Lyndell, whose recording reached number 50 on the Billboard R&B chart in 1968. The song was essentially improvised by Lyndell, record producer Dave Crawford, and the Stax studio musicians in Memphis, Tennessee.

In 1993, American hip hop trio Salt-N-Pepa recorded the song retitled "Whatta Man" for Runaway Love, an EP by En Vogue, who is credited as the featured group. Hurby "Luv Bug" Azor wrote the rap lyrics and produced the version, with Cheryl James (Salt) also credited as one of the songwriters. Salt-N-Pepa sampled Lyndell's original recording and remade the song as a rap song.

"Whatta Man" was a major hit for Salt-N-Pepa and En Vogue, peaking at number 3 on the Billboard Hot 100, number 7 on the UK Singles Chart and number 6 on the UK Dance Singles Chart. The song was nominated for the Grammy Award for Best R&B Performance by a Duo or Group with Vocals and the American Music Award for Favorite Soul/R&B Single.

The music video won three MTV Video Music Awards: Best Dance Video, Best R&B Video, and Best Choreography in 1994.

"Whatta Man" received a total of 76,4% yes votes!

#finished #high yes #high votes #high reblog #salt n pepa #en vogue #90s #60s

[justforbooks]

Over the course of a long career, the American singer Marlena Shaw moved from jazz to soul and back again, searching for settings that would best enhance her fine voice. In later decades she commanded the allegiance of the British fans of the rare-groove movement, who rediscovered and particularly cherished her version, released in 1969, of a much recorded song called California Soul.

Shaw, who has died aged 81, made her first stage appearance at the Apollo theatre in Harlem, New York, when she was 10 years old. Billie Holiday was still alive and Ella Fitzgerald, Sarah Vaughan and Dinah Washington were other inescapable influences on a jazz-inclined teenage singer seemingly destined to work with big bands in dancehalls and smaller groups in nightclubs. In her later years she became familiar with the sound of hip-hop artists basing their hits on samples from her singles and album tracks.

Shaw’s recording of California Soul, a song written by Valerie Simpson and Nickolas Ashford, popped up in Gang Starr’s Check the Technique and Stereo MCs’ Sofisticated. It was also used in American TV commercials for Dockers shoes, KFC fast food and Dodge trucks, and in 2022 it was awarded an official gold record by the British Phonographic Industry.

Born Marlina Burgess in New Rochelle, New York, she showed musical talent from an early age and was given her first opportunity to take the stage in 1952 by her uncle, Jimmy Burgess, a trumpeter and bandleader who was performing at the Apollo. It was through his tuition that she acquired her understanding of jazz phrasing, while her mother encouraged her to study music at New York State Teachers’ College in Potsdam, a small town close to the Canadian border.

But she failed to complete the course, marrying young and bringing up five children before picking up the threads of a performing career that had barely begun. There were more false starts. In 1963 she missed an appearance at the Newport jazz festival with the trumpeter Howard McGhee after an argument with the musicians, and an attack of nerves ruined an audition with the great talent scout John Hammond, who had signed Holiday and Bob Dylan, among many others.

But in 1966, while singing at the Playboy Club in Chicago, she was signed up by the locally based Chess label, the home of many popular soul and R&B performers. Her first single was a vocal version of Joe Zawinul’s gospel-style tune Mercy Mercy Mercy, which had been an instrumental hit for Cannonball Adderley.

In 1968 Shaw toured Europe with Count Basie’s orchestra, involving the bandleader in an amusing routine as she improvised new words to Won’t You Come Home, Bill Bailey? It was while appearing with Basie at the Sands hotel in Las Vegas that she decided to make the gambling capital her home, moving there in 1970.

A contract with the Blue Note label led to a series of albums in a smooth soul-jazz style, including one recorded live at the Montreux jazz festival. The title and content of another album, Who Is This Bitch, Anyway?, indicated a desire to challenge the then-current popularity of the sexually explicit singer Millie Jackson.

A move to the Columbia label in 1977 saw her transforming Carole King and Gerry Goffin’s Go Away Little Girl, originally recorded by Bobby Vee, from a lovelorn ballad into a statement of female independence introduced by a lengthy rap directed at a feckless, workshy lover: “I figure if I’ve got to get up and go to work every day, then every able-bodied in the household is supposed to get up and go … If for some reason you feel that you can no longer be the man you were at the beginning of our relationship, then I’ve got this one thing to lay on you, my sweet. Go away, little boy …” But eventually the attitude softens, and after a seduction scene the song fades out on a note of surrender: “You think you can get a job by Thursday? You promise? Then you might as well stay … Don’t go away … ”

It became one of her most popular songs in live performance, the prefatory rap acquiring extra twists, turns, and layers of sardonic saltiness. At the New Morning club in Paris in 2010, the man in the song had become someone who had picked her up at an airport giftshop, its final scene acted out with elaborately dramatised hand gestures, smiles, laughter and a winning command of her audience.

An elegant presence on the concert stage, she sang with a symphony orchestra in New Zealand and toured for four years with Sammy Davis Jr. There were further recordings for the Verve, Concord and South Bay labels, and in 1989 a duet with Joe Williams, another former Basie singer, on an update of the old Louis Jordan song Is You Is Or Is You Ain’t My Baby earned her a Grammy nomination.

Shaw ceased all professional activity in 2016, retiring to her home in Las Vegas. Her survivors include her daughters April and Marla, a son, Robert, and several grandchildren and great-grandchildren.

🔔 Marlena Shaw (Marlina Burgess), singer, born 22 September 1942; died 19 January 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #marlena shaw #in memoriam

[goodbysunball]

You're my buddy, you're my pal

A couple more for the road. A long overdue nod to the great Bruit Direct Disques, and Khanate's massive return to a world that befits their sound. Without further adieu:

Khanate, To Be Cruel (Sacred Bones)

After a double-digit years-long hiatus, Khanate orchestrated a surprise return to follow up Clean Hands Go Foul with To Be Cruel. I can't say I've listened to much Khanate in the interim, but To Be Cruel makes a strong case for revisiting the band's discography. Given the members' forays into other projects, I was expecting the sound to shift dramatically here, but that was incorrect: the band has doubled down on its glacial pace, heaving guitars and Alan Dubin's backed-into-a-corner vocals, at once human and feral. What's changed is only a greater attention to composition, allowing for some breaks in the drudgery to incorporate ideas from free jazz and improvisation. About two-thirds of the way through opener "Like a Poisoned Dog," the song is overwhelmed by feedback, the drums let loose and the bass holds the line; it's a brief, but thrilling moment, a break in the stark black atmosphere. Much of that atmosphere is owing to Stephen O'Malley's guitar and Alan Dubin's vocals, though I was glad to read an interview with James Plotkin where he agrees that some of the lyrics Dubin screams are patently absurd. That being said, the broader ideas behind the lyrics, coupled with their deadly serious delivery, induce chills throughout. Control is ceded to Dubin on the spare "It Wants to Fly," but his strongest performance is saved for the title track at the end. "To Be Cruel" is vintage Khanate, O'Malley and Plotkin squeezing every ounce from their chords, Tim Wyskida hammering the drums to punctuate each painfully slow movement. Rather than find release, the band chooses to return to the same structure at the beginning of the song, now teasing feedback out between strikes, slowly burying Dubin alive. To Be Cruel is the band's best work, as room-flattening, caustic and focused as ever, enough for me to consider making a trip if they tour behind it.

Nusidm, The Last Temptation of Thrill (Bruit Direct Disques)

Ah, Glen Schenau's inimitable Nusidm returns on one of my favorite labels, Bruit Direct Disques. We must enjoy these moments of kismet, no? The Last Temptation of Thrill fleshes out a refined version of Nusidm found on Hatred of Pain: less vocals, less crowded, and reimagining the dirge as something miasmatic and smothering. Largely gone are the clean, tromolo-picked guitars, but the drums carry the weight, something made perfectly clear on "Katy und Abel" and the beginning of the fully dystopian "Run to the Shops." There seems to be a lot more electronic layering in these tracks, songs built up not by clenched muscles but by feedback, pitch-shifted vocals, pedals and maybe even tape loops. This approach makes "Sit and Watch the Sunrise" come across as a threat, and reaches a logical, thrilling endpoint on "Arm Unemployed" and "Melody Moody - The Re-incision." The slow build of noise in the latter cancels out the jazzy bass line reprised from Hatred of Pain's "Vapid" and covers itself in thick mud, vocals escaping through the air vent and desperate for a response. The record builds up in fits and starts, interspersed with instrumental tracks, the best of which are on the B-side: "Tagging My Friends" brings back the frantic clenched-teeth acoustic playing, and "Talking to Animals" is all feedback and woodwind shrieking, taken home by the downtuned bass. The album's elements coalesce on the chaotic "Arm Unemployed," previously released but finding its home as the penultimate track here, which kinda sounds like Glen's take on rap-metal, if they ever made room for a xylophone solo. It must be heard to be believed, but you'll be nodding along for its five-and-a-half minute duration. The Last Temptation of Thrill is Nusidm as confounding as ever, but as potent as ever, too; the artist-label pairing here greater than the sum of its parts. Three hundo copies to go around, and sharply outfitted in Glen's own artwork and font to further confuse the issue. Come join me on his planet.

Terrine, Standing Abs (Bruit Direct Disques)

Terrine's last album Les Problèmes Urbains was described in the press release as "certainly one of the most demanding (comical) in the world." I'm unsure if my familiarity with the work of Claire Gapenne as Terrine is such that I understand her intentions more clearly, or if I've just accepted being wholly outside the joke. Whatever the case, her latest album Standing Abs is checking all the boxes for me. It opens with "She's So Kind De Ouf," full of harsh electronics and rhythms popping up and disappearing, all of the different elements building to a blaring climax. If you know Terrine, you know that these moments are fleeting, and the song is shortly followed up with acoustic piano and what sounds like a beat made by basketballs. The piano has been a strong part of Terrine's sound, but now it is woven into the album's fabric rather than included solely as a jarring shift in instrumentation. The rest of the album is a really interesting push-pull between modern electronic composition, with a nod to EDM, and these shorter pieces featuring spare, empty-room piano. It's hard not to think of ZNR's Barricade 3 when confronted with the dichotomy of electronic and acoustic sounds, presented to emphasize their contrast; but I will also echo Matt K.'s comparison to Lolina in his review of the album. Like Lolina's best work, there is a logic here, albeit coy and evasive, that still captivates. The stretch of songs from "Carrageenan Do Dad Jokes" through "Nuage De Nuls" features some of the same elements, but it's as if the beats and piano merge, split, or disappear altogether throughout. Far from being a purely academic exercise, there's plenty that just knocks here, too: "Les Moucherons à Oranges" sounds like the rhythm is being played on the piano strings, a kick drum coming in to intermittently stabilize the situation. "La Nimpro" unceremoniously kicks you out of the loft at the album's end, and the cycle is complete. It's a blast, shedding any sense of sabotage (hello, "L'anniversaire") and stepping confidently into their Sambas.

#Khanate #Sacred Bones Records #Nusidm #Terrine #Bruit Direct Disques

[mywifeleftme]

353: Digable Planets // Blowout Comb

Blowout Comb Digable Planet 1994, Capitol

Blowout Comb is the best rap album ever made, and I’ve listened to it hundreds of times, but I’d be lying if I told you I knew the name of every track as it comes on. It’s not that the tracks are same-y, so much as that the record has such an endless, unified groove. No matter how great an individual song is, no matter how much I’d like to hear it again immediately, I never want to disrupt the record’s flow—and besides, there are no skips on Blowout Comb. How do I get at the particular magic at work here? It’s something like this: most everything is so laid back, from the mix tucking the three emcees’ vocals under the frequently analog bass to the way its classic soul and jazz samples are used for texture rather than hooks, that you could loop almost any single track for an hour without it becoming grating. It’s not an album of standout quotables or an iconic persona or killer hooks—it’s one that makes life feel alright, beautiful, and connected to an ancient cool.

Which isn’t to say that it doesn’t knock: the production on “Dog It,” “Jettin’,” “Agent 7,” “Blowing Down” and “9th Wonder” kicks like a rhino’s subwoofer heartbeat, and even the chillest parts feel like floating in a funky aquarium. But the song that has always stood out to me is “Black Ego,” a blissed out seven-minute dream boldly placed at track two. Built on a fluttering sample from jazz guitarist Grant Green’s “Luanna’s Theme” and a Meters’ breakbeat, producers Ish Butler and Dave Darlington layer on live bass, vibraphone, and whispered backing vocals that match the exact hiss of the cymbal hits. The seams between the sampled and live instrumentation disappear, creating a track that feels like it is improvising right alongside the emcees, riding out with a tasty two-minute long jazz guitar solo. Even at seven-minutes, I’d happily play it over—but then the enticing sax loop that opens “Dog It” hits, and Blowout Comb keeps the party rolling on to the next one.

Way back on episode #13 of this series, I covered Black Up, Ish’s 2011 comeback record as Shabazz Palaces. A strange, futuristic album that delves so deeply into glitchy electronic production that it often barely scans as a rap album at all, Black Up is nonetheless a continuation of Blowout Comb’s vision of Black pride and the historical continuum of African American music. If Blowout Comb drew that history into one time-spanning Brooklyn block party, Black Up feels a bit like that party being recalled by a cyborg from an unimaginably advanced Afrofuturist timeline. Between the two, Ish Butler created two of the freshest and most original rap records ever made. He (and his colleagues in both Digable Planets and Shabazz) deserve more mention in any conversation about hip-hop’s all-time greatest visionaries.

353/365

#digable planets #shabazz palaces #ish #ish butler #ishmael butler #'90s music #'90s rap #jazz rap #alternative hip hop #slick like that #music review #vinyl record

[sweetdreamsjeff]

Soul Coughing/ Jeff Buckley Rock the House

Great American Music Hall on Thursday

night (May 4, 1995)

By MTV News Staff

May 6, 1995

12:00 AM

Editor's Note: We found a pile of notes on the recent Jeff

Buckley/Soul Coughing concert scribbled by our business manager, Steve McConnell. They were almost unintelligible, but after hours and hours of deciphering, we were able to piece together the following report.

Listen to Soul Coughing's debut album, Ruby Vroom, and you'd think the New York-based quartet were beat poets messing around with samples. See them in person however, and it is clear that they are from the New York white-boy school of rap (think low-keyed Beastie Boys). That was the most surprising thing about their terrific hour-long performance at the Great American Music Hall on Thursday night (May 4).

"You all don't have to get up," said leader singer/rapper M. Doughty, as Soul Coughing took the stage. "I was kinda digging that campfire thing." He was directing his comments to the nearly 100 people sitting cross-legged on the floor of San Francisco's Great American Music Hall.

Ruby Vroom has received some remarkable (and well deserved) reviews. The New Yorker called it "one of the best records of 1994"; Details noted that "this is some serious boho, Dada shit." Live, the group more than lived up to such praise.

Soul Coughing is comprised of Sebastian Steinberg on upright bass; Yuval Gabay, drums; M'Ark De Gli Antoni, keyboards/samples; and Doughty on guitar and vocals. They emerged from the New York avant garde jazz scene (John Zorn gets a word of thanks in the album credits). Live, the group brought together elements of Morphine (the driving bass and narrative style), Digable Planets ( rap set to jazz samples) and the Beasties. But where Digable Planets come from the rap world and the Beasties arrived via punk, Soul Coughing bring a distinctive bohemian jazz sensibility to the mix.

At the Music Hall, they performed nearly the entire album. Highlights included "Casiotone Nation," "Mr. Bitterness," "Down To This" and the amazing "Is Chicago, Is Not Chicago," which included the line "San Mateo is in the house." After performing that song, noting the enthusiastic response, Doughty said, "I guess San Mateo is in the house."

Headliner Jeff Buckley was in fine form, performing one of the most rocking sets of his current tour (at least according to a fan who saw the last four shows), stretching out many of the songs and improvising. Buckley played a taped-up red Rickenbacker six string guitar; his voice sounded even more beautiful and emotional than on his debut album, Grace. At one point someone from the audience yelled, "Shonen Knife?" "OK," replied Buckley, then played two minutes of a Shonen Knife song while the rest of the band smirked. Half way through the set Buckley played a loud and raucous version of the MC5's "Kick Out the Jams."

#jeff buckley #jeffbuckley #soul coughing #great american music hall #san francisco #may 5 1995 #May #1995 #mtv #catnip dream #shonen knife

[shayminlucario07]

Deep Cut thoughts

One thing about Deep Cut’s music that notably sets them apart from the idol groups that came before them (Namely, the Squid Sisters and Off the Hook) is how their music is noticeably imperfect. To clarify what that means- that’s not me saying the music is bad (Because it isn’t), but me pointing out that there are noticeable “Flaws” or human moments in the actual music.

A good example is in Till Depth Do Us Part, during Shiver’s verse- You can hear her voice break slightly on some of the notes when she’s singing. It’s very human, and it makes the song a lot better- but that level of human error isn’t present in the other idol groups’ songs- even in Pearl’s raps in Off the Hook’s songs. The only other circumstance I can recall hearing something like that is Fly Octo Fly ~ Ebb and Flow (Octo), in which Pearl and Marina are literally singing a ballad to what is potentially THE END OF THE WORLD. But in Till Depth Do Us Part, Shiver is allowed to sound like a REAL PERSON, and her vocals- while obviously recorded in a studio, because that’s just how song production works- don’t sound unrealistically perfect and produced, they sound like she could be genuinely singing live in a way none of the other groups have been able to in most contexts- ESPECIALLY so for the Squid Sisters. It’s very refreshing, and I’m almost certain it’s because of the Chaos thematic for Splatoon 3- the somewhat imperfect, human quality to their music just lends itself to the Chaos theme.

I do have problems with Deep Cut as a group- and their name is Big Man, because while he’s great, he’s a deeply underwhelming First Male Idol and his actual role in the group’s music is so minor that he isn’t even present in most of their songs, and it feels like a total cop-out to me- but this is something about Deep Cut I GREATLY appreciate. Where Callie and Marie have a very pristine and near-perfectly upkept Idol persona (with Splatoon 2′s hero mode being the biggest notable departure from this), and Pearl and Marina, while significantly more real, relatable, and sporadic in how they present themselves, still have at least some degree of Idol Persona they stick to (Pearl being the Rich Heiress and Marina being the Cultural Outsider- literally who they are, but also a persona/curated identity they present as idols), Deep Cut- Shiver and Frye especially, since Big Man ultimately doesn’t get the same degree of personality/individual character moments- feel much more authentic in their behavior. They bicker, banter, and laugh, and unlike some of the similar interactions that the Squid Sisters or Off the Hook have, it feels very genuine, off-the-cuff, and improvised- like you would do if you were just hanging out with your friends. It’s very well-written and really helps solidify Deep Cut’s identity- a much needed supporting act, since the story mode didn’t really do that particularly well.

TL;DR, Deep Cut feel less like Idols with curated personas than the two groups that came before them, and it’s really refreshing, and a triumph on the part of the Splatoon devs.

#Splatoon 3 #Deep Cut #Shiver #Frye #Big Man

[nct-yeona]

Get To Know Me ✨

🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪

+ about

#stage name - yeona #birth name - kang yeona #birth name meaning - 'yeona' means 'one who has a heart of gold' #birthday - june 6th, 2002 #birthplace - pohang, south korea #hometown - pohang, south korea #nationality - korean #ethnicity - korean #languages - korean (native), english (conversational/learning), japanese (learning), mandarin (learning), thai (learning) #MBTI - ESFJ (the consul) #representative emoji - 🐥/🐤/🐣 #zodiac - gemini | #chinese zodiac - horse

⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢

+ appearance

#idol look alike - park soeun, weeekly & kang yeosang, ateez #natural hair color - black #natural hair type - wavy #eye color - light brown #height - 164cm (5'5'') #blood type - B+ #dominant hand - right hand #special features - squishy cheeks, round face and short height #birthmarks - coming soon #scars - coming soon #modifications - coming soon

🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪🟢⚪

+ career

#occupations - rap (100%), vocal (100%), dance (80%) #positions - main rapper, lead vocalist, dancer #company - Clandestine Entertainment* (2012-2014) SM Entertainment (2014-present) *(completely fictional company) #trainee period - 4 years (2012-2016) #group debut - August 25th, 2016 (NCT Dream) March 14th, 2018 (NCT U) October 12th, 2018 (NCT 127) #debut age - 14 years old #years active - 2016-present #association - CLD Entertainment, SM Entertainment, NCT, NCT Dream, NCT U, NCT 127

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+ statistics

vocals: 10/10 rap: 10/10 dance: 8/10 acting: 10/10 variety: 5/10 modeling: 7/10 songwriting: 8/10 producing: 8/10

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+ health

#mental - she has attention deficit hyperactivity disorder (ADHD) #physical - she is physically healthy #phobia - tonitrophobia (fear of thunder) & phonophobia (fear of loud noises) #allergy - cephalosporin, which is an antibiotic

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+ personal

#strengths - strong practical skills, strong sense of duty, very loyal, sensitive & warm, good at connecting with others #weaknesses - inflexible, reluctant to innovate or improvise, vulnerable to criticism, too selfless #talents - switching accents mid conversation, all-rounder, acting #hobbies - acting & impersonations, creative writing, parkour & climbing, singing, contemporary dance, volunteer work #likes - nature, the color green, animals, children, writing stories & poetry, going hiking, acting, love stories, her members (sometimes), long hair, sweets, spring & summer, warm weather, rain, ducks & ducklings, listening to music, fidget toys, walking barefooted #dislikes - loud noises, winter, gloves, getting sick, thunderstorms, being left alone, long practice sessions, strict rules, dating ban, the smell of citrus, bitter foods & drinks, long movies, getting lost in her thoughts (zoning out), heavy makeup (on herself), math, waking up late

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Hey, thanks for giving this post your time and I hope you will enjoy my stories. I appreciate you 💚

"When you know yourself you are empowered. When you accept yourself you are invincible."–Tina Lifford

Disclaimer: All the pictures are from Pinterest and are not mine. Credit to the owners. ©︎ nct-yeona - all rights reserved. do not copy, repost, or translate my work on Tumblr or other platforms.

#kpop oc #profile #nct dream #kpop addition #kpop female oc #kpop female addition #kpop added member #kpop female reader #kpop female member #nct dream female addition #nct dream female member #nct dream added member #nct dream addition #i-am-confused-about-life #nct female addition #nct female member #nct oc #nct-yeona #nct yeona

[dreamaze]

♫ Music Breakdown Ask Game ♫ 

🎼 Send in a number alone or with an artist! 

Favorite melody?

Favorite lyrics?

Favorite melody and lyrics combination?

Favorite chorus?

Favorite verse?

Favorite bridge?

Favorite song intro or outro?

Most unusual song structure?

Most surprising musical moment?

Most iconic musical moment?

Favorite rap song or verse?

Favorite production detail?

Favorite ad lib, improvisation, or embellishment?

Favorite vocal harmonizing?

Favorite recurring theme (musical or lyrical)?

Favorite instrumental track or accompaniment?

Favorite genre-bending/hybrid/influenced song?

Favorite remix?

Favorite collaboration?

Favorite solo or unit?

#hi hello this is wings with a very musical ask game #(on brand? at least i hope it's on brand skdjfdkfj) #inspired by eri's creative sleepover game nights (if you see this hi eri <3) #and maybe also the fact that i struggle to answer over half the general ask game questions #this was created mostly with kpop groups in mind but definitely applicable to other artists and genres! #please feel free to rb if you want to play along too <3 #ask games

[lcincs]

unwrapping her glossed duo from around her straw, the peach d’usse coated the soon-to-be songstress’s vocal cords. once the presenter announced her name, she rose to her feet to receive the microphone. patting at the bulbous tip of the device, the feedback resonated to draw attention to her. ‘ wassup, wassup err’body! 𝐇𝐎𝐍𝐄𝐘 is the name. say it slow and let it sit on ya’ tongue, ‘ she purred, looking over the top of her balenciaga shades. pacing across the stage, her hips switched to their natural rhythm before letting the engineer know she was ready. ‘ aight, and tonight, i’m gonna perform a song for my people.  this song raised me. this is for my maneaters tonight. ‘ the beginning instrumental began to play to 𝐓𝐑𝐈𝐍𝐀'𝐒 “ look back at me ” began to play over the speaker as the screen gave her her cue. 

❛ i got an ass so big like the sun / hope you got a mile for a dick, i wanna run / slap it in my face, shove it down my throat / nigga, where your blunt? i can make this pussy smoke 

drawing her hips around in a wide circle to emphasize the intro, the woman had no problem in making various suggestive gestures with her body. bending forward with her legs spread, as the ‘ smoke ‘ slipped from her deepened tone, her free hand reached between her legs. her decorated acrylics showing against the backdrop of her ass as she stared at the audience, once she was upright, she snatched her glasses from her face, displaying the mild drama in her glam. demonstrating every action that was rapped about, the honey-blonde performed the routine she’d been improvising on since high school. 

❛ licky-licky-licky-licky-licky for a hour / i'ma make it rain for you, here's a golden shower / smell it like a flower my pussy is a rose / come a little closer, i wanna fuck your nose

emulating the essence infamous clip of evelyn lozada, 𝐀𝐋𝐀𝐈𝐍𝐀 gently patted the rhythm at her pelvis, before turning around so her exposed back was to the crowd. as the pre-chorus churned, she brought her arms above her head as she let her ass shake for all to see. the way her cheeks rippled could be detected from the thin material of her jumpsuit, exposing the upper half of her crack. switching up her cadence to match 𝐊𝐈𝐋𝐋𝐄𝐑 𝐌𝐈𝐊𝐄 and his delivery, she moved across the stage as any male rapper would, acting out some of the more raunchy lyrics. during the bridge, she got on the ground, letting her knees slide from beneath her slowly as she raised her derriere to her onlookers, the emblem of her thong perched in the air as she exposed her arch.

❛ on and off the dick, better known for breaking hearts / nigga, call a cab, i'm finna pack my shit and leave / shouldn't have let you fuck, now that's some shit i can't believe / wasting my time, fucking all off-beat / pussy nigga, next time, when you see me don't speak

her cheeky gestures served as the physical component to compose her performance. slapping at her own ass, she was winded towards the end of her performance, never used to doing vocals while doing a routine. waving at the crowd with a smile, she slid her glasses back over her eyes gracefully before giving her final thank-you’s for their attention. ‘ that shit hard, hollon! but thanks y’all. y’all can catch me here, same time next week, ‘ she joked before blowing a kiss to the crowd. 

#𝖆𝖑𝖆𝖎𝖓𝖆 웃 ⌁ ( ※ ⋱ ⋡—read only. ) #like damn i need to start charging fr.

[zackcrazyvalentine]

👉👈

Thais, Koron, Vihaan (each group has a sing song peep-)

8. burst into song every now and then?

That would be so cuteeee. 🥺🥺🥺

8. Most likely to burst into song every now and then?

.,..Minxie this is hard, oh wow

AND YOU'RE RIGHT!!! Every group has a very musical peep in it!!

I lean towards Vihaan 🧡 being the most likely to

Thais knows how to sing and is very frequently humming something, but she mainly focuses on using her vocal chords

Koron knows how to sing and play instruments, create music. However, he plays string instruments and synthesizers/launchpads most

But Vihaan...

He comes from two very colorful and energetic backgrounds, music has always been a constant in his life (whereas Thais and Koron were a little restricted to it bc parents not wanting them to follow the arts for future careers)

He sings, he has a nice voice for swing and rap

HE COMES UP WITH RHYMES EASILY!!! All the time! He's just sitting in class and them two words that sound good together pop into his mind and then he's improvising a verse

And he also LOOOOOOOVES percussions!!!

What is something many of us do when singing to ourselves energetically? We clap or tap or feet or drum on our body/some random surface!

That's why I think Vihaan is the most likely to burst out into a song from the three!

Thais and Koron depend on their mood, too. Vihaan sings just because there was an itch in his throat he had to scratch, set free words that were fluttering to his tongue (talkative boy that, if he doesn't talk, those words turn to melodies)

So...

Vihaan! Vihaan is the most likely to break out into a full song!

#zask #oc talk #vihaan kingsgrove #HE GROOVYING!! #sunset boi music boi 🧡 #i love he so much aaaa 💖 #i honestly didn't expect this as the answer djehdj #always thought Thais would be the one but NO IT'S VIHAAN #Koron is probably the least likely one #he's very dependent on his mood or if there's a catchy tune in his head

[iridescentspacewhale]

if you could give the guys in ooo solos what concepts do you think would suit each member

this got very long but I'm also very bad with concepts and it's 3am so I hope some of this makes sense 😭 but writing this did entertain me fnfnf

also included some pics

Nine: I'd definitely continue the floral theme that he started with his song Daisy. It's perfect for ooo but also great for him and I think they could find a way to incorporate Wookjin's love for perfume in there.

It would be bright and colorful and fun but also sexy because man does he like showing skin lol

I think they could honestly offically release Daisy as a title track for his solo and build off of that because it's so perfect and omg the physical album could look so pretty covered in daisies

edit: oh also the lyrics of all the songs would probably be gender neutral, a small thing but it's a thing nine has done

Kyubin: I'm not very sure for Kyubin but I could totally see him doing something similar to Wonho. The music would be different because Wonho's style isn't really similar to Kyubin's writing but I can see him on stage flauting his abs and shit.

I could also see him sticking with chill r&b type stuff since that's what he has the most experience with and is incredible with.

I do know for sure the wardrobe would be incredible since this is Mr I Have to Dress like I'm on the Runway Everyday

Mill: oh beloved yongsoo in not very sure....

I honestly wouldn't have him rap, like at all. I don't mind his rapping but by god his singing is amazing LET THE MAN SING

I could see him pulling off a kind of cute preppy concept actually REALLY well but idk if that's what I would want for him...

OH FOR SURE BRING BACK THE DYED HAIR

I could also see him having a song with a really gay music video and lyrics. I say this based off of how his character in libido might have been "the boy" discovering his sexuality but we never really got a resolution because of all the bs that's happened the past like 9 months and even though it wouldn't be the same it could be cool so see that character revisited in another setting and maybe he actually gets the guy this time 😭

Love: Definitely incredible vocals on this, I'd love to see him in the fur coat again and expand off of that vibe for a solo

not very sure for the rest though....

Rie: I think for sungho I would want him to do something more ballad or musical theatre esc oriented. His voice is perfect for that and during lives we have seen he has learned a lot of songs like that on his own

though he's an incredible dancer so it feels shameful to not have him dance....could just be very powerful vocals with great dance for title idk...

Definitely a very sexy concept for him...

Yoojung: For sure would be something very etherial/fantasy esc. Lean into his whole "I'm not a human im a fairy" bit. He would kill a concept similar to INVU

and or stuff that is usually considered to be for female artists since that's his specialty. Really fun dance, could see him doing a collab with a female artist (Yves I'm looking at you) too

semi related but I do hope we see a hanlim f5 collaboration....like that would be so cool to actually see them all work on a song together

(it's yoojung, woodz, kino pentagon, yugyeom got7, and jeon woong ab6ix)

Junji: I'm not sure honestly....he would definitely go crazy with the singing...idk what style, like most of the group he can do anything but I know how badly he wants to be main vocalist. It would also be dance heavy, maybe having the song he would promote having a dance break where he improvises, since that's his specialty

though maybe a rock vibe could work really well for him? Bring back edgy Junji or Junji in the 70s rockstar jacket and leather skirt? His voice could work really well with alt stuff.

(don't bring back the bangs though 😭)

okay....well there's that this was very fun and maybe I'll do a better version in the future

#asks #ooo #i actually had so many pics for each but post limit 😔

[eangellawhorn]

The Influence of Hip-Hop Music in the U.S.A.

In the year of 2015, news reports stated that the most popular music genre in the U.S.A. was Hip Hop (“Why Rock Music''). Hip Hop music has a strong, rhythmic beat with a vocal rapping track (Markos). The music can be fast and aggressive and/or slow and relaxed (MasterClass). Majority of songs don’t have simple drum lines. Instead, there are a varity of sounds (''Hip-Hop Music). The main vocal track is rapping and rhyming along with the beat (MasterClass). There are other styles of vocals that are used in Hip Hop. The vocal tracks are singing, spoken word, autotune, and ad-libs (MasterClass). It is said that the genre began in the United States of America (MasterClass). There’s a possibility that the origins of Hip-Hop came from Africa. (''Hip-Hop Music'').  “Since its inception, hip-hop has birthed dozens of subgenres, including trap, grime, gangsta rap, rap rock (or nu metal), crunk, chillhop, bounce, mumble rap, Latin hip-hop, and conscious hip-hop” (qtd. in MasterClass). In this report, I will explain how Hip Hop impacts the United States of America and what caused society to change due to Hip Hop music.

The birth of Hip Hop began in the Bronx, New York during the 1970s (“Hip-Hop Music''). Some people believe that Hip-Hop originated from African “griots.” (“How Hip-Hop”). Griots were village storytellers who played instruments while telling stories to their families (Odenthal). In the beginning stages, there were rappers such as DJ Kool Herc, Grand Wizzard Theodore, Grandmaster Flash, and Afrika Bambaata. (MasterClass). They are considered the pioneers of Hip Hop/Rap music because they introduced Hip Hop to the media (MasterClass). The artists experimented with music called Soul and Funk (MasterClass). They would try new techniques while DJing at parties (“Hip-Hop Music''). Examples of some of the techniques are scratching, freestyling, and improvising vocals (MasterClass). In 1979, the first commercial Hip Hop song was created by the rap trio Sugar Hill. Their song “Rapper’s Delight,” reached number forty on the US Billboard Charts (Hip-Hop Music). This achievement caused America to consider Hip Hop as a music genre (“Hip Hop Music). Around the 1980s, the music became more diverse because people began to experiment with new instruments and technology (Hip-Hop Music). Also, Hip Hop gained international fans, especially fans from the United Kingdom, Australia, and Japan (''Hip-Hop Music). Over time, Hip Hop’s influence in America and the rest of the world began to change society. There are multiple eras of Hip Hop music as time moves forward. The New School Era in the year of 1984, introduced new artists such as the Beastie Boys, LL Cool J, and DMX. Rappers began to shift away from old school Hip Hop (''Hip Hop Music). The Golden Era, from the late 1980s and early 1990s, there were many mainstream artists, such as Tupac Shakur, The Notorious B.I.G, MC Hammer. During the late 1990s, it was the Commercialization era of Hip Hop music (MasterClass). Meaning, the genre became mainstream. Alternative Hip Hop began in the 2000s. The reason why it's called Alternative Hip Hop is because artists used other genres of music such as Punk, Indie Rock, Jazz, and Electronic music in their rap songs (MasterClass). Finally, there is Contemporary Hip Hop. This era consists of internet distribution, streaming services, experimentation, and mixtapes (MasterClass).

Hip Hop music started out as an outlet for African-Americans, Caribbeans, and Latinx to express emotions (“How Hip-Hop”). The music made people aware of social issues in America, especially for Black folks. “Blacks across the country who identified with [rap] were informed by it as a medium through which to share national culture. In the process, rap artists became the dominant public voice of this generation.” (qtd. in How Hip-Hop).The social issues that rappers rapped about were poverty, joblessness, and disempowerment (Odenthal). Hip Hop encouraged people to rise up against Caucasian Americans who economically and psychologically oppress Black Americans (“How Hip Hop”). Even the rapper, Tupac Shakur said, “What makes me saying ‘I don’t give a f***,’ different from Patrick Henry saying ‘Give me liberty or give me death?’ What makes my freedom any different than Bosnians or whoever [America] wants to fight for this year?” (qtd. in Odenthal).

Due to the protests caused by Hip Hop, non-supporters viewed the genre as aggressive, vulgar, and profane. (Odenthal). The audience developed street smarts, what was assumed to be nothing but gang wars and civil unrest (Odenthal). It was seen as an unnecessary rebellion towards the law (Odenthal).  However, Hip Hop music gained more supporters, fans, and artists over the years. A rapper with the stage name, Jay-Z, enjoyed the controversy Hip-Hop created (“How Hip-Hop”). He said, “Hip-hop has always been controversial, and for good reason. When you watch a children's show and they've got a muppet rapping about the alphabet, it's cool, but it's not really hip-hop. The music is meant to be provocative—which doesn't mean it's necessarily obnoxious, but it is (mostly) confrontational, and more than that, it's dense with multiple meanings. Great rap should have all kinds of unresolved layers that you don't necessarily figure out the first time you listen to it.”(qtd. in Odenthal). The United States of America is progressively accepting Hip Hop as art, not a disaster. 

Some believe that the music genre shouldn’t be number one in America. Hip Hop music has a greater influence in the United States of America than its competition (Markos). Thanks to many artists and supporters, the music became highly praised and respected. Hip Hop caused many changes to society and the way people can express themselves. Hip Hop created more diversity in the music industry (Markos). The music, invented by Black people, Caribeans, and Latinx, gave a voice to people of color who aim for success (“Hip-Hop Music). What started out as humble beginnings became a national music trend.

According to Markos’s article, Why Rock Music Is Better Than Hip Hop,” he writes about how Hip Hop generated more album sales than Rock music. In the year of 2017, the United States spent over 248 billion dollars on music (Markos). While Hip Hop music was 35% of the albums sold, Rock and Roll sales decreased by 5% during the years of 2020 and 2021 (“Why Rock Music''). Even though Hip Hop gained popularity in the United States of America, Rock is still considered the best music in the rest of the world, according to some Rock fans. However, there is no evidence proving that one genre is better than the other around the world. In reality, these claims are based on the preferences of fans (''Why Rock Music''). The supporters of both genres have their favorite influencers and artists. However, Hip Hop is diverse, which means more people can relate to it (Markos). The music helped many African-Americans/Black people, Latinx, and Caribbeans and others to become stars (MasterClass). The genre gave a voice to the voiceless who were once unable to express themselves.

In conclusion, Hip Hop music changed many generations of music. The genre gave people a chance to tell stories about their life experiences. Not everyone agrees with Hip Hop being the number one music genre in the United States of America. However, Hip Hop still remains number one in America for at least five years. Due to the styles of other genres used in Hip Hop music, Hip Hop became a diverse music.

Works Cited

"Hip-Hop Music Guide: History of Hip-Hop and Notable Artists." masterclass.com, MasterClass, 16 June 2021, www.masterclass.com/articles/hip-hop-guide. Accessed 4 Feb. 2023.

Markos. "Why Rock Music Is Better Than Hip Hop." boysetsfire.net, 25 Sept. 2022, www.boysetsfire.net/why-rock-music-is-better-than-hip-hop/. Accessed 4 Feb. 2023.

Odenthal, Kathleen. "How Hip-Hop Music Has Influenced American Culture and Society." spinditty.com, The Arena Group Brands, LLC, 5 Dec. 2022, spinditty.com/genres/Hip-Hops-Influence-on-America. Accessed 4 Feb. 2023.



#hip hop #usa #music #influential #new beginnings #genre: contemporary #essay writing #african american #rhythm heaven

[raghavalevelblogs]

week 7 : types of genres

This week, we dived into the different types of genres. In Media Studies, we analyze these folders to understand how things are made and why we enjoy them.

• Genre: The main type, like the big folder. You've got classics like horror (think jump scares!), comedy (makes you laugh!), documentary (tells a true story), and action (explosions and chases!).

• Sub-genre: Imagine smaller folders inside the big one. Horror can have sub-genres like slasher films (think "Friday the 13th") or psychological thrillers (mind games, like "Get Out").

• Hybrid genre: This is when folders get mashed together! A movie can be a romantic comedy (combines romance and laughs) or sci-fi action (think aliens and spaceships with fighting!).

There are quite a few categories in music genres as well. These include :

• Popular Music (Pop): Catchy tunes, often short and sweet, with repeated choruses. Think Top 40 radio.

• Rock: High-energy music with electric guitars, drums, and often vocals. Rock has many subgenres, like heavy metal (loud and intense), punk rock (fast and rebellious), and alternative rock (more experimental).

• Hip Hop: Rap vocals (rhyming lyrics) with rhythmic beats created by a DJ or sampler. Hip hop also includes breakdancing and graffiti art as part of its culture.

• Electronic Music: Created using electronic instruments and synthesizers. It has many subgenres, like dance music (made for clubs), techno (hypnotic rhythms), and house music (uplifting vibes).

• R&B (Rhythm and Blues): Soulful vocals with elements of jazz and blues. R&B is all about expressing emotions through singing.

• Country: Often uses acoustic guitars and tells stories about love, loss, and life in rural areas.

• Classical: Formal music written by famous composers, often for orchestras or solo instruments. Think concertos, symphonies, and sonatas.

• Jazz: Improvisation is key! Jazz musicians play off each other, creating unique melodies and rhythms.

• Folk: Traditional music that's been passed down through generations, often focusing on storytelling and cultural heritage.

[lucielxbe]

next gen s2 part 2. ⋆ better, but never enough.

a dive into an unfamiliar world comes with many struggles. luciel is used to operatic elegance, the sense of grandeur and formalities. be that as it may, he’s a blank canvas. he’ll let himself be painted with any colour and shade. he’s sung rock for his first performance and showcased some waacking, which was a risk since he’s not a professional in either of those fields… yet he’s received a positive response overall.

‘nothing is impossible in this world, luciel. you just have to work harder,’ he remembers the words of his parents that repeats in his head over and over again. ‘you can do it if you set your mind to it.’ unrealistic pressure settled down early on little luciel’s shoulders from the moment he was adopted. if one were to think about it, isn’t it too much to place that much weight on a child?

luciel doesn’t thinks too much about it (he can’t). on the bright side, he knows how to navigate through difficulties and hardship without stressing out too heavily. he’s encountered trouble right away when training for the first mission, yet he remained as calm as the still waters, not allowing the storm to disturb that tranquility.

then he’ll add more colours to that canvas.

when luciel takes his steps to the stage, he strides with unwavering confidence and flashes a cheerful smile while bowing before his audience. then he wastes no time in his brief introduction. talk less and show the world that at this very moment, he’s a star.

the song he’s replayed countless times begins, starting off with the dance and rap. as soon as his body moves to the beat of the music, he makes eye contact with the audience and the camera when he feels he needs to. it’s as if luciel is telling them with his eyes to look at him and carefully watch his performance.

it’s unfortunate that there wasn’t much singing, more so of rapping. he still feels detached from this form of music, nevertheless, it doesn’t deter him from working harder and achieving a new colour. he’s been practising with the assistance of the coaches and of course, his fellow contestants (especially seira, a kind soul he’s grateful for). his delivery doesn’t come off as strong, and his breathy singing tone is still a little apparent there but there’s weight to it. he ensures that he articulates the lyrics clearly to the ears of the crowd while keeping his rhythm in check throughout. luciel hopes that at the very least, he sounds pleasant to hear.

then there’s syncing the dance with his vocals, another challenge. stamina doesn’t pose as a great obstacle for luciel, he’s excellent at controlling his breaths. so during practice, he quickly caught up to coordinating the different elements into the fluid performance he’s displaying right now. his movements are sharp and clean just like the video with an added touch of gracefulness (which made it appear a little… sensual, somehow).

he retains the same confidence as when he walked onto the stage until the end. in some parts of the performance, he acts like a tough guy determined to prove his worth, then he’s someone who’s having fun on stage. above all, luciel makes sure that the smile (that he has perfectly crafted and honed over the years) he presents is a lovely dream to his audience.

luciel concludes the performance by improvising with intricate hand and finger movements to form a heart shape. it's cute, and because of how sleek those motions are, it fits the vibe of the song (he hopes!).

he’s doing better, he thinks. he’s done so much better than before within the small amount of time he was given. he had fun and it was thrilling. all that is left now is for the judges to evaluate his performance. he's unsure if he had done well in their eyes, but the most important thing was them enjoying his performance. he's satisfied with that alone.

the canvas is flowering with beautiful, vibrant colours. even so, no matter how many shades there are, luciel only sees an achromatic painting. the glimmer of light in his gaze fades.

‘it’s still… not enough.’

#be:ngs2p2 #* solo. #* wc: 702

[rap-bull]

how to rap?

Rapping is a form of musical expression that involves delivering lyrics in a rhythmic and rhyming manner. Here are some tips on how to rap:

Study the Craft:

Listen to a variety of rap music from different artists and eras. Pay attention to their flow, rhyme schemes, and delivery styles.

Analyze lyrics to understand how words are chosen and arranged to create impactful verses.

Develop Your Style:

Experiment with different flows and rhyme patterns to find a style that suits you. Your rap style should reflect your personality and unique voice.

Don't be afraid to be yourself and bring your own experiences and perspective into your lyrics.

Practice Regularly:

Like any skill, rapping improves with practice. Freestyle regularly to improve your improvisational skills and work on your delivery.

Write regularly to enhance your lyricism. Challenge yourself with different topics and themes.

Master Timing and Flow:

Pay attention to the beat and develop a good sense of timing. Your flow should complement the rhythm of the instrumental.

Experiment with different cadences and practice staying on beat.

Build a Strong Vocabulary:

A rich vocabulary allows you to express yourself more creatively. Learn new words and phrases, and explore various ways to convey your message.

Work on Breath Control:

Good breath control is essential for delivering long and complex verses without running out of breath. Practice deep breathing exercises and work on maintaining a steady airflow while rapping.

Emphasize Pronunciation:

Clear pronunciation ensures that your audience can understand your lyrics. Practice enunciating words and pay attention to your diction.

Find Your Voice:

Develop a unique vocal tone that sets you apart from other artists. Experiment with pitch, tone, and delivery until you find a style that feels authentic to you.

Connect with the Audience:

Engage your listeners by telling compelling stories or expressing relatable emotions. Make a connection with your audience through your lyrics.

Collaborate and Seek Feedback:

Collaborate with other artists to gain new perspectives and learn from their experiences.

Seek constructive feedback from peers or mentors to identify areas for improvement.

Remember, the key to becoming a skilled rapper is dedication, practice, and a willingness to continually evolve and refine your craft.

#how to rap #rapper #artist #hiphop #hiphop artist #underground hiphop

[struggle-but-its-all-ocean-floor]

If Reddit wasn't such a shit place I'd bother getting an account just to "fight" stans on kpop Reddit. I'm just going to vent right now.

How is Red Velvet a vocal group? Because they're SM? Commenters say it's because they can harmonize, sing well live, and every vocalist can hold their own, but how is a group that only sings well on encores because they lipsync everything else a vocal group?? BTS can *gasp* sing well live and on encores and also harmonize together. I know this is blasphemous to say because everyone and their mother loves to point out the vocal line's limitations, but Irene and Yeri are definitely worst singers than Jin, V, or Jimin, while V, Jimin, and Jin are better, or just as good as, Joy, and comparable to Seulgi (admittedly worse, especially in technique and consistency, but Jimin, for example, is a lot more versatile and sings with more emotion). Also, *double gasp* Wendy and Jungkook are comparable. I'd love to see Wendy sing like Jungkook while doing his choreos, pull off as many genres as him, or go live and sing random songs in multiple languages, and improvise adlibs and harmonies on the spot as well. I haven't seen Wendy improvise or harmonize with her group as much as Jungkook (I've never seen her do either of those things, period, but I'm not super familiar with the group). I think Wendy has a good control over her voice, smooth vocals, a pleasant tone, great range and technique, I agree that she's a great singer. But the same way she has strengths Jungkook doesn't have, Jungkook also has strengths Wendy doesn't have, like versatility and musicality, singing with more emotion, etc.

I'm not saying BTS are a vocal group, especially when they have a very strong rap line (that doesn't rap nearly as much now), 3/4 of their vocalists lack the polished vocals I associate with vocal groups and don't sing acapella very well, and even Jungkook doesn't have the power vocals I associate with vocal groups. Also, BTS are indeed performance oriented by their own account.

But is RV not performance oriented too? If they were a vocal group, wouldn't they be singing live? Wouldn't they be more focused on "harmonies" and not being coordinated in choreos? Also, do they really harmonize that much? Isn't it mostly all of them singing the same note together? And, no, I haven't checked out their Killing Voice performance, but I doubt it will make it reconsider my opinion.

Like, what is a vocal group? It's so stupid how a group that has one or two good vocalists and a bunch of mediocre ones (generalizing now) is more of a vocal group than a group where the entire vocal line can sing and sing live.

Red Velvet aren't Mamamoo, for example. Mamamoo have 3 good singers (two great ones) and their rapper can sing well too, they sing live and improvise and harmonize on stage, and, despite the dancing, their performance is mostly vocal oriented imo. I think Mamamoo are a vocal group, at least in kpop since I don't know the traditional definition of one.

Are Shinee a vocal group? Redditors say so, but the current lineup is one main vocalist who doesn't get the most lines at all, one rapper who can neither rap nor sing, and two good vocalists. Sure, they could be a vocal group, if their focus was vocals. But, alas, they're dance/performance oriented and also lipsync most of the time. How does this make them a vocal group? If knowing how to sing and be from SM is enough then, wow, the standards are really low. There are boy groups who to me are vocal groups (maybe BTOB, but I don't know them well), especially 2nd gen ones, but right now I don't think Shinee are one.

Also, kpop Reddit defending JYP (the man) like it's their fucking job just goes to show how not "unproblematic" kpop Reddit is. It's better than Twitter but it's still fucking Reddit. Yes, I know it's my fault for engaging.

#bts #text #scared of tagging other groups tbh