#the idea of 2 of your favourite bands performing at the same place but you can't go cause it's in los angeles

[vimbry]

man am I grateful to live in the digital age at times tho. the hell were all these poor people doing without archives immediately at their disposal for research and recreation. I know libraries, fanzines, clubs and the like have always provided an outlet but I'm too used to sitting here like a little emperor ringing my bell and having my aides (internet service provider and web browser) present me with treats from the scholars (hobbyist archivers)

#I do love delayed gratification to an Extent like I don't enjoy bingewatching and stuff #but how did I live in a world without easy recording capabilities #I still remember that day my cousin and I were following x.iaolin showdown on cn in the afternoons while I was staying w/ his family #we went out for the day and completely forgot about that day's episode. devastating. when you are 11 #the idea of 2 of your favourite bands performing at the same place but you can't go cause it's in los angeles #and the most you can do is read about it being advertised and never hear of it again because it's pre-camcorders/tape circulation/internet #if your favourite things were even lucky enough to have a dedicated fanbase at all. the heartbreak

[boldlyvoid]

Nuclear Reactions: Chapter Two

Nancy x Robins side of the Freezer Burns Universe | Masterlist

Summary: This is the first time one of Gareth's Garage parties paid off for Robin

Warnings: drunk teenagers, kissing, fluff

Word Count: 3.3k

She’s braiding Holly’s hair and listening to music when Mike knocks on her bedroom door. “Yeah?” 

He pushes it open and walks in with a nervous smile. He’s so tall and skinny and weird as he becomes a teenager, but he’s still her baby brother. “um…”

“Where do you need to go?” She knows already. 

“Gareth’s house… they’re having a party,” he explains. “You can come too? Even Jonathan?” 

She hasn’t told him yet that they broke up, surprised Will didn’t know yet either. “Maybe, I’ll see when we get there. When do you want to leave?” 

“7:30?” He suggests, giving them all enough time to get ready. 

She nods, “make sure everyone is ready and has everything they need, I’m not making 2 trips.” 

“Okay, thanks!” He leaves her room quickly leaving her with holly once more. 

“Can I come?” She asks sweetly. 

“I don’t think so, sweet girl, it’s almost your bedtime,” Nancy reminds her. “One day we’ll get to have a party together. When you’re older we’ll be able to have wine parties like mom and aunty Karol do at Christmas.” 

“Okay,” she gives Nancy a hug. “Can I help you pick your outfit?” 

“Of course,” Nancy always said yes. 

At first, it was just convenient hanging out with her when she got ready for dates, now Holly loves helping her choose what to wear. They have fashion shows, and she asks Nancy if she can have some of it when she’s older, Nancy said she can have it all if only Holly knew it wouldn’t be in style by the time she got to high school in the 90s

She stares into her closet with only one thought: I wonder what Robin’s favourite colour is? ‘Cause then she’d be able to pick something cute that would catch her eye, even if just for a second as she walked Mike to the door.

Thinking back to every time she’s seen Robin, she wears a lot of green but that’s just because she’s in uniform and Nancy reports at the same games Robin performs at for band. Outside of band and her scoops uniform, she had no idea what Robin would like… she wanted to catch her eye. She wanted to talk to her and make her blush again. She wanted to see if there was something there, friendship or more, but she didn’t care. She wanted to know robin, that was the only fact she had. 

She settles on an orange shirt and a jean jacket over a little black jean skirt. It was cute, she did her hair up and added some makeup, and she liked it. It was giving… very much Eddie and his friends' vibes. 

Eddie who she knew was into boys and girls, the whole school knew, unfortunately— he made a joke about being ambidextrous in middle school and someone thought it meant he liked boys and girls and he said, “you’re not wrong there, but it means I can write with both hands.” People have been on his case for being gay ever since. 

And then there are his friends who look at each other like they’ve been in love for years, Gareth and Jeff. If they’re gay and in love and happy maybe they can help her understand why she’s never felt right trying to love boys… 

If she looks like them they’ll want to talk to her, and maybe then they’ll feel safer around her. She was good at making sure she fit in for other people's comfort, making sure she wasn’t a bother or unwanted was her main priority. 

She has always tried her hardest to get people to like her, it’s why she got into news reporting in the first place. She was always volunteering in the office at school, helping the office ladies make copies and answering the phones on their lunch breaks. Until one day the Principal asked her to do the morning announcements for the absent secretary. With a bit of nerves, she stood behind the podium, pushed the speaker button with a deep breath and welcomed the students of Hawkins Middle school to another wonderful day there. She did it flawlessly and the praise she received from it was unlike anything else she’s ever experienced.

She’ll be searching for that buzz again her whole life. 

She did the announcements until she graduated and moved up to high school. There they had a mean secretary who wouldn’t let Nancy do it even though the teachers from the middle school had recommended her to her new principal… so she had to switch gears, she needed to find another way to report the news and receive praise from her superiors. That’s when the Hawkins High newspaper got the best columnist in the whole staff.

To this day her best article was on the disappearance of Barbra Holland and the disgusting coverup. Every student in the school read it, every teacher and then eventually every parent. It raised alarm bells louder than any news segment could’ve… and sure, it pissed Dick Harrington off to know that she named his backyard as ground zero as a way to scare parents into caring, but it was a step she had to take. Every kid in Hawkins has been to the Harringtons' house at some point and a girl died in their backyard, it could’ve been any kid, so why didn’t people care about Barb? Would they have cared more if it was one of the Carver boys? At the end of the day, a member of the community died and no one cared to search for her or prevent it from happening again. It was clear she was angry in that article and the anger was so palpable it rallied the people of Hawkins together to shut down the lab permanently. 

She did that. 

It was supposed to be the reason she got her job at The Hawkins Post, she was supposed to be supported and appreciated and instead, she was groped and thrown out. That buzz she was searching for went dead like someone cut the power to her, she was defeated and hurt and she needed a break. She needed to get her buzz back. 

She gives holly a kiss on the forehead before she heads out to her car where mike and his friends are waiting with armfuls of stuff. 

“What the heck is all this?” 

“We’re going to sleep in the backyard…” Mike explains and she knows it's because they don’t want their mom to see them coming home intoxicated. It was a teenage right of passage to get drunk and sleep in a tent in your friend's yard, right? 

“Get in then,” she unlocks the doors and lets them pile in. 

The ride is mostly quiet, they’re afraid to ask why she’s all dressed up or if she’s coming in with them. They don’t come right into the garage, they instead head out back and use the residual sunlight to help them set up their tents for the night.

“Hi?” She gives Gareth and Jeff a small wave as soon as she walks through the garage door. “Mike said I could come, is that cool?” 

“Nah, it’s fine, welcome,” he reaches out to give her a high five. “Nancy, right?” She nods, wondering if maybe Robin talked about her. “Sick, well I’m Gareth, that’s Jeff, you know the little gremlins already…” he points to max and Lucas who ran in to steal some snacks. 

“I’m Kevin,” their other friend steps in, always forgotten. 

“Hi,” she gives him a smile and a small wave. “Is Eddie coming too?” They all look at each other awkwardly, “what?” 

“He’s probably with Harrington,” Jeff explains, biting the bullet. “He’ll be here too, that won’t be awkward right?” 

She shakes her head, “why would it be? We’re friends?” Still caught up on the fact Steve was friends with Eddie??? 

“I was right there in the kitchen when you fought over that cup of punch and then he left crying,” Kevin explains. 

“And I don’t want beer everywhere,” Gareth teases, smirking slightly. “seriously though, you guys are cool after that?” 

She nods, “yeah, I mean… we never really talked about it, we just broke up and things happened with Jonathan and he was super supportive. I didn’t know he cried?” 

“He looked like it when he stormed past me,” Kevin explains. “But who knows I was drunk too.”

“How is Jonathan?” Jeff asked to change the topic away from her ex… not knowing she was single again. 

She takes a deep breath, not knowing how to explain it. She shrugs, at a loss for words. “I haven’t talked to him in over a week.” 

“Oh?” Gareth is really surprised. “Can I ask why?” 

“I broke up with him,” she just says it. Feeling some pressure behind her eyes, she doesn’t want to cry but it’s still a little too much. “And I got fired… it’s been a rough week.” 

“Holy shit,” they all have a similar reaction. Jeff reaches out to console her, rubbing her arm gently while Gareth grabs her a drink. “Here, you need a break.” 

“Thanks,” she speaks into the cup as she takes a sip. “I really do.”

She downs the first beer and makes jokes with the boys, surprising the kids when they come back in and see her fitting in with their new friends. She’s known of the hellfire boys for years, she’s interviewed them for the newspaper and taken their photo for the yearbook, it wasn’t like she was stealing Mike’s friends. He was simply getting to know her classmates. 

“Wheeler?” 

Eddie’s voice grabs her attention as well as Mike's, they turn to him at the same time, “yeah?” 

“Sorry, I mean Nancy,” he waves mike off, making Nancy smile. 

With one drink already in her system she makes her way to him as he asks what she’s doing there, “can we talk?” She doesn’t take no for even an option of an answer and drags him to the corner of the room. 

“Sure…?” 

“Jonathan and I broke up and Mike asked for a ride and I figured I’d be allowed to be here? Given everyone else who’s here?” She whispers. “I kinda… I think I don’t like guys anymore and I thought that you’d be able to understand how I’m feeling?” 

It all kinda just falls from her lips. 

“Oh… oh!” His face lights right up. “Oh my god, this all makes sense now, holy shit!” 

She can feel his energy change from annoyed to overjoyed, she wants to start jumping around with him he’s so excited. It feeds her soul, and it makes her happy, “what does?” 

He shakes the excitement out and looks right at her, “Steve kinda told me how things ended… not gonna lie I was ready to go full mean girl on you knowing you pretended to love him for a year but this makes sense.” 

Her eyes widen, she didn’t know Steve was telling people about what happened. “How do you know that?” 

It's the way Eddie smiles a bit and shrugs, “Steve tells me everything. He’s always here with robin, Gareth’s cousin,” he points for good measure. “Wait, hold on, I’m going to go get them, you’ll love Robin! You go have a drunk and meet the boys, I’ll be back!” 

Before she can even react to all that, he’s gone. It makes her laugh, he’s going to hook her up with Robin… and he’s fucking Steve. 

Nancy knows that infatuated look, it’s the “I’m boning Steve Harrington” smile. 

—

It all kinda happens in a blur, one moment she’s in her room getting high with Eddie and the next thing she knows Steve’s coming out of the closet with Nancy by his side. 

Robin has been pining over Nancy Wheeler extra hard since last week, the way she smiled and listened to her talk and made her feel comfortable… it was amazing. Normally she talks too much, normally people don’t want to listen to her or if they do, they don’t care. 

Nancy cared. 

She cared enough to dance with robin and ask her questions and hold her hand when they walked from the dancing area over to the food table… she poured robin a drink, and she brushed Robin's hair back, she smiled at her like she was the only one there. And she kinda felt like that too. 

With Jeff all over Gareth on one couch and Eddie’s tongue down Steve's throat in the corner, who else was she gonna talk to? The kids leave around midnight to walk Max home, she just lived a few houses down from them— and then they’d be camping out in the yard. And Kevin left a little bit ago, his brother came and picked him up so he wouldn’t have to sleep over and have to hear Gareth and Jeff going at it. 

Nancy asks if she can stay too, having a few too many drinks than she ever intended as she hangs off of Robin. 

“Sure, I don’t think my grandma will mind,” she smiles at her. “There are blankets and stuff too, I can bring some down to you after I get Steve to bed… that’s going to be a fucking disaster.” 

“You don’t have to worry about that now,” Nancy says, swaying to the music with her hands on Robin's hips, making her move too. “We’ve got time.” 

The lights are all off except for the twinkling Christmas lights hung from the ceiling, she can just slightly see Nancy’s face that’s how dark it is. And the music is so loud it’s not like she can focus on much else either… but then it changes. Gareth picks a mixtape that has a different vibe, it’s slower, still heavy, but good for making out… 

It’s also good for slow dancing. Nancy rests her head on Robin’s shoulder, holding her close as they dance like middle school lovers in the middle of the snowball before the teachers remind them of the space rule… Nancy even manages to kiss her shoulder and the side of her neck all while robin stays on her feet and moves at a normal pace. Her coordination is finally working in her favour. 

Just when she thinks she’s going to get her first real kiss on the lips from a girl, Steve comes over and taps on her shoulder, “I’m tired.” 

“Cool?” She tries to ignore him. 

“Where’d Eddie go?” Nancy asks, letting go of Robin's waist and turning to Steve. 

Eddie has slipped out for a cigarette, leaving a very drunk Steve with Robin, so she makes the executive decision to end the party there and take Steve up to bed. 

Bad choice. 

With Nancy’s help, they get his wobbly ass up the steps and into her room only for him to whine and complain his way out of changing and brushing his teeth. Nancy slips away then, taking the living room couch for the night, leaving her to deal with Steve’s nonsense. 

“Let me go,” he whines, pulling away from Robin as soon as she starts to hand him his pyjamas. “I’m fine, I’m not that drunk.” 

“If you want water I’ll go get it,” Robin argues, trying to get him into bed. “‘Cause I swear if I let you down there again and you don’t want to come up here after the struggle it was to help you up those stairs, I will kill you.” 

“I need to go down there tonight,” he tries his best to stare into her eyes. “Please? He’s waiting for me.” 

“Who?” She teases, wanting to hear everything from him. 

“Eddie,” he whispers. “I meet him in the kitchen every night and we talk and hold hands and do other stuff… can I go? Please?” 

“Oh, oh yeah, go…” she can’t believe it, she just moves out of the way and lets him go. 

She follows quietly, sitting on the bottom step as he rounds the corner and runs right into the kitchen. She hears them kiss each other and whisper their little hellos, it’s sickly sweet. 

“Gross,” Robin calls from the doorway, peaking her head around to tease them more. “Get a room!”

“We can take yours if you prefer?” Eddie bugs her right back. 

Nancy wanders over from the living room where she was trying to sleep. “Can you shut up?”

“Sorry,” Robin turns to her without a plan for what to say when she sees her beautiful eyes again, “sorry.” 

“Not you,” she wraps her arm around Robin to hold herself up, she rests her chin on robins shoulder and yawns. “Can I sleep in your bed?”

Robin almost chokes, “y-yeah?” 

“Ooo,” Steve teases, pointing at her. “You better not be doing anything when I come up to bed.” 

“Just go home with Eddie,” Nancy suggests which makes Robin's heart drop into her stomach.

“Maybe I will,” he turns back to Eddie and hangs off him. “I like sleeping with you.” 

“Ew,” they reply at the same time, disgusted. 

Nancy takes her hand and yanks her away from the kitchen then, up the stairs and into her room where she shuts the door and smiles at her. “You got any pyjamas I can borrow?” 

Robin nods and quietly heads over to her dresser, opening the bottom drawer she grabs some shorts and a white shirt and hands them over to her. “This good?” 

Nancy takes them from her and places them on the edge of the bed, she pulls her shirt off and pushes her skirt down to the floor, all with robin right there. And she should be used to it… girls change in the locker room in front of her all the time, it’s not new, it’s just the first time she’s had a huge crush on the girl getting naked in front of her. 

Nancy slips into her shirt and shorts only to unclip her bra under the shirt and pull it out through her shirt sleeve. She turns to robin with a smile, “you’re drooling.” 

Robin panics to wipe her mouth but she wasn’t, she is so flabbergasted with everything happening in front of her that she didn’t even register that it was sarcasm. “sorry…” 

“Do you know any other words?” 

“I think so,” she shrugs slightly. “I’m still high and you’re so pretty I feel like an idiot.” 

Nancy sports a beautiful smile on her face as she walks over to robin and lays her hands on her shoulders. Robin stares into her sparkling eyes, they’re so pretty she could get lost in them. Swimming in the green lagoons as she stared back, “you’re not an idiot,” Nancy reminds her. 

“Okay,” Robin changes tracks easily, her eyes flicking down to Nancy’s lips and then back to her eyes. She’s never been so close to a girl in her entire life. 

She rests her hands on Nancy’s waist, pulling her in closer, unsure where her confidence is coming from… she just mimics the way she’s seen Eddie manhandle Steve… Nancy seemed to be a lot like Steve, it’s why they didn’t work. That and the fact they’re both extremely gay as it would turn out. 

“Are you gonna kiss me?” Nancy whispers. “Cause you can… I want you to.” 

“Really?” 

Nancy nods ever so sweetly, pressing her lips together in a tight smile. They just stare at each other, robins hands trail up her back, Nancy’s left-hand cups her face, and they don’t say a single word. It’s too delicate to be real, neither one of them has kissed a girl before but they’ve spent a lot of time thinking about it. 

“Robin…” Nancy whispers, thumb caressing her cheek, “are you okay?” 

She nods, “I don’t want to disappoint you.”

"You could never." She makes the first move, kissing robins cheek gently first and then the side of her mouth. She can barely pull back when Robin is hungrily lunging for her, kissing her hard and holding her there in place. Breathing her in, fireworks explode behind her eyes as her heart skips a beat in her chest. There’s more electricity in this kiss than the local plant could ever produce. 

It’s nuclear.

general taglist:

@ncsls0515 @stevesmunsons @reidsbookclub @wroteclassicaly @sweetyyhippyy @manuosorioh @mrs-dr-reid @k-k0129 @eddiemunson-rp 

Ronance:

ask to join!

#nancy wheeler #steve harrington #robin buckley #ronance #ronance smut #ronance fluff #stranger things smut #robin buckley smut #nancy wheeler smut #ronance fanfic #ronance fanfiction #ronance imagine #ronance au #ronance fic #ronance endgame

[struggling-with-time]

What a life [Wilbur x reader]

Paring: c!Wilbur Soot x Gender neutral!reader

Summary: A night in the lives of the young adults before the world taints their life. Inspired by What a life by Scarlet Pleasure

Warnings: Fluff, bit of angst if you squint

Words: 1.8K

Masterlist: Wilbur's Masterlist - Full Masterlist

A/N: Please request if you have any ideas. REQUESTS ARE OPEN. Request here. I do suggest listening to Scarlet Pleasure. They are one of my favourite bands. And thank you to the lovelies of @libbynotfound and @hungoverhellhound that was both sweet to beta read <3

-.-.-.-.-.-.-.-.-.-.-

You keep your eyes closed as your bedroom door creaks open, letting light into your dark room. Your dads, BadBoyHalo and Skeppy, each whisper a goodnight before closing the door again. You listen intensely as you hear them repeat the motion father down your hall in your brother’s room.

And then you wait.

You keep quiet even as you can hear small stones getting thrown at your window. You know Wilbur is already outside, the rest of your brother’s friend group most likely already is too.

But you don’t move, you wait.

Until you don’t.

Sapnap comes into your room, closing the door behind him, and you throw off your comforter, already dressed for the occasion. He hands you your shoes, and you quickly put them on as he makes a fake you with pillows.

You hurry over to the window, throwing it open, narrowly dodging a stone getting thrown your way.

“Wilbur!” You whisper yell out the window. You can see him as clear as day, even in the dark, and he does look slightly apologetic. You start crawling out of the window, and onto the small ledge. Before you descend the rest of the way down the 2-story house.

You watch your twin brother scale the building after you, as dressed up as yourself.

The two of you hurry over the small fence that surrounds your front yard, separating your house from the town.

You greet the rest of the people, right now only consisting of Wilbur, Dream & George. You get a quick hug from George, a playful head ruffle from Dream, and a longer hug from Wilbur.

“Finally, you join us, what was taking you so long?” You hear George ask Sapnap.

“They took forever to head to bed tonight. You know they check on us Gogy.” Sapnap lightly punches his friend, earning a groan in response. But you’re unsure if it’s in response to the punch or the nickname.

“Alright, alright, I talked to Schlatt, and he got me some of this.” Wilbur rummages through his backpack, trying desperately not to take the bag off. Clearly not wanting to put down his guitar case.

“Let me help you there.” You push his should light, making him straighten up and you rummage through his back, quickly finding the flask he was looking for. You think you’ve seen this brand before at home, but knowing Schlatt it might as well be something completely different.

“Yo, Wilbur you actually got some.” Sapnap takes it from your hand and is the first to twist the cap off and take a swing.

Sapnap tries his best not to grimace at the burning in his throat, but the rest of you just laugh at him as he hands the bottle to you. And like true twins, you make the extra same face, but you can feel it going through your throat. Letting it warm your insides. You figure it’s not what the label says it is. Or maybe it’s spiked with a bit of potion. Because it doesn’t take more than 3 swings for you to start getting giddy.

The 5 of you quickly finish the bottle off, and Dream throws it in a bush in your neighbours garden.

“We should get going.” Sapnap is the first to remark.

“Well then, come on! We’re going to be even more late if we stay here all night.” Dream agrees, and that is all it takes for Wilbur to grab your hand. Dragging you off to the small inn where everyone else for the night will be. You can’t help but giggle at the action.

“Tonight is gonna be a good night!” You hear yourself yell into the empty streets as you run down them hand in hand with Wilbur, and the rest following behind too.

The inn is a place on the outskirt of the town. It has a bar, a good large serving room, and you think maybe 4 rooms upstairs to rent. Although you’ve never been above the first 3 steps of the staircase.

Wilbur throws open the door. Always one for the dramatics, quickly catching the eyes of your friends in there. You watch as Wilbur’s own twin brother, a pink-haired guy named Techno waves you down to your table.

Despite running off before Sapnap and his friends, they are already seated with a drink each when you get to the table. The 3 of them always have been known for making everything competitive. And it’s not a secret they expect nothing but victory.

You let go of Wilbur's hand, giving a quick hug to greet some of the people around the table. Niki, Techno, Fundy, Quackity, and Schlatt. You take a quick note of the missing ones. Eret and Karl.

You sit down beside Fundy, and it doesn’t take long before Wilbur is beside you. Waving down the redhead server.

“Sally!” You hear Wilbur greet you. Ordering a beer for each. You tune out from their conversation as she starts to inquire about his band. Instead, you turn to Fundy.

“So where is Eret tonight? I could have sworn they said they would be here.”

“I hear he got stuck on babysitting duty, all 3 of the troublemakers.”

“Then shouldn’t you be there too” You tease the fox hybrid, he is known to participate in the chaos, the self-proclaimed bench trio has a tendency to create.

You give a quick thanks to Sally, as she sets down your drink, and you give her a compliment on the inn to pass onto her parents, the owners.

It truly is a cosy place, filled with a good feeling from the cosy, yet alive atmosphere. It has a small scene in the corner, you can already see Wilbur's bandmates starting to set up their instruments.

You poke him in the side, to get his attention back from what looks like, a rather heated argument with Schlatt, about how horrible anteaters are. And you gain it before you point over to the scene, and Wilbur quickly scrambles out from the bench. Nearly knocking over his half-empty beer in the process, and you can’t help but laugh with him, as he finds the situation hilarious.

You go back to chatting with Fundy and Niki joins in. It’s nice and calm, yet you’re feeling so alive tonight. Maybe it’s the clear skies, but there is just something in the air.

You watch Wilburs performance intensely, waving off the jabs his brother Techno makes at you.

“And the two of you keep saying you’re just friends.” You think you hear him complain to the table. You ignore the responses in favour of trying to catch Wilburs eyes, and you do. And he smiles, and you smile. And you can’t but feel giddy and giggle at the moment.

The performance goes well, and far too soon they are all situated at your table again. And everyone gets a new drink on curtsy of the house for a good performance.

You’re catching up with Niki, when Wilbur leans into your ear, asking if you want to get out of the inn for the night.

You agree.

And the two of you take your leave, with a quick “Be back before sunrise” From your brother. And then the two of you are out of there. Missing the way, the table is now complaining about the lovesick couple that isn’t a couple.

You are the one to drag Wilbur through the streets now, all that can be heard is the laughter of two young people feeling alive and enjoying life.

You drag him back to his own house, knowing Phil is out. Or else Eret would have been with you tonight.

The two of you lock eyes for a moment, a smile and grin mirroring each other before you both look up.

Rooftop.

Wilbur’s house is a nice cottage on a hilltop, just outside of town, making it the perfect place to stargaze. And it doesn’t help that outside of Wilbur’s window is the roof of the porch.

So you bounce on the balls of your feet as Wilbur struggles with the keys to get the door open. Both of you being very much stealthy despite nobody being around. Or as stealthy as two half-drunk younglings can be in the middle of the night. You stumble through the house and up the stairs. He puts away his guitar case as you open his window, already situated on the roof with his comforter around your shoulders, by the time he joins you under the open sky.

“Do you ever think we are meant for something bigger?” You can’t help but ask, mesmerised by the stars. No matter how many times you look at them, they always seem to hold the secrets to the world just out of reach of your grasp.

“Yes.” He looks at you, taking in the awestruck look on your face, as you look up.

“How so?”

“I want to travel, see the world. Make a difference.” He slides closer to you, and you bask in his attention.

“Where to, mister traveller.” You tease him.

“I don’t know if Sapnap told you, but Dream has put an offer down on a large piece of land. I want to go there.”

You turn to look at him, finding him look back at you.

“You’re gonna leave?”

“Not tonight, but as soon as Dream sends a letter when he gets there.”

“They are leaving soon.” You can’t help but add. “Sapnap told me the other day. They are leaving in 2weeks from now, I always knew he would leave before me. But you too?” You lean your head on his shoulder, and he rests his on top of yours.

“You could always come with me? Tommy is. Or, Tommy is if dad allows it, but I’m sure he will.”

“Maybe later, maybe later.” You let the empty promise float into the slightly cool air of the night.

Moonlight bathes the two of you in a silver lining. A pining is felt all through town from the lovesick couple that isn’t a couple.

The night is no longer young, but the two of you are. You are young and alive, nearly untouched by the horrors of the world.

And it terrifies you, it terrifies the both of you even if neither says it. There is a whole world out there, another side, that neither of you have ever seen before.

But for now, it’s okay.

For now, everything is okay, for the world will still be there tomorrow, and for the rest of time too. While one of you might disappear soon.

But for now. That’s is okay.

For you are still young, and you are alive.

What a life.

-.-.-.-.-.-.-.-.-.-.-

#wilbur soot #wilbur soot x you #wilbur soot x reader #wilbur x y/n #c!wilbur soot x reader #c!wilbur soot #c!wilbur #c!wilbur x reader #c!wilbur fanfic #c!wilbur x you #dsmp wilbur #dsmp #mcyt #gender neutral!reader #delias own writing

[natromanxoff]

Mercury Roadrunner's Interview about Freddie Mercury with Peter Freestone – Part II

Thanks very much to Mercury Roadrunner (Pavel Strashnyy) for letting me share his amazing interviews! Originally shared here.

Check the tag "MR interview with Phoebe" to see the other parts. Here are the 3 main topics of this interview, beginning of each topic is written in bold:

1. Language skills

2. Music videos, Garden Lodge

3. Celebrity friends, leg damage story, Joe Fanelli, relationship between band members, Freddie's last days

PS: So here is our second part and the first topic is about Freddie’s language skills:

Did he actually know only the English language or did he also know the Gujarati language or any other languages?

PF: When his parents were in Garden Lodge or if he called his mother on the telephone, he only spoke English. I suppose, he must have understood Gujarati, because, okay, in the school he was taught English, but before the school, when he was in Zanzibar and he would have been with is parents, so I would have thought they would have been speaking in Gujarati.

He had about twenty words of German after living in Munich for so many years. He couldn’t speak German, but I think he understood the language, if he was paying attention, because most of the people around him were talking English, so he never really had the need to learn German. Although, saying that, one of his partners, Winnie, was German and did not speak a lot of English, but then he had Barbara to do the translating.

PS: The second topic is about a very special song “Mad The Swine”, which was recorded in 1972, but was released only in 1991 as a B side of “Headlong” single. Why, after so many years, Freddie decided to come back to it and release it?

PF: Freddie knew that “Innuendo” was going to be his last complete album and I think that this song had a special place in his heart, there were something about it, and as far as he was concerned, it never got an airing he felt it deserved and the rest of the band was happy to put it on.

PS: I mentioned the “Headlong” song and you can be seen in some archival footage of making of the “Headlong” video, you help to lay the Queen members on the shelves. What are your memories about that day?

PF: I was just there to help them. When they are making a video, they don’t need someone to take care of costumes, because there is a costume person, there is a makeup person, everybody is there to do something. And so I was there for Freddie, looking after him, and it just seemed natural to help out. And the band would feel more comfortable if that was someone that they know who would help to put them on the shelves rather than some technician turning up and trying to do it. And this moment with selves wasn’t’ planned. That wasn’t in the storyboard, it’s just that they saw it, there were four shelves so they just thought “Well, why not? Let’s do something crazy”. And the idea must have come from the band member, because Rudi would have seen all the possibilities when he was checking out where they were going to be doing the filming, and if he had thought of using the shelves, that would be one of the ideas put in the beginning.

PS: There are also some parts where we can see you in “The Great Pretender Extended Version” video - can you remember anything about it?

PF: It was just a big long laugh. There is not one part of the making of the actual scenes that they are not laughing and smiling. Roger, Peter and Freddie – they just clicked, it all worked. Nobody had to be bigger than the next one, nobody had to take the spotlight, and they just were there, having a good time.

PS: What is your personal favourite memory from that day?

PF: Personally, for me it is watching the recording of the six girls –you know, both of the backing group were girls, they were wearing two different outfits – and watching the recordings, when they were recording the one group of three and then the other group of three, the costumes they got in to and what they did – you couldn’t help but feel really-really happy. They were actually standing on the same platform when they were recorded. And then, of course, they used computer graphics to put two different groups on the screen at the same time. Just watching three of them there on the platform, waving their hands goodbye, it brings back the memories of those groups of backing singers in the sixties.

PS: What are your memories of making of the “Breakthru” video?

PF: I remember that it was probably the hottest night of the year, no sleep, because it was just so hot and humid. They had a huge problem with the opening scene, and they shot that last in fact. But they had a huge problem because when the engine went into the tunnel it caused air pressure so that that polystyrene wall burst out a long time before the engine arrived. So they tried it earlier on and that’s when they found that that’s what happened, and then they had to do playing around with it during the day, there was people doing that while the rest of the filming was going on, and then they had to sort of re-do it and it was the last shot. And the engine was actually already in the tunnel before it started getting up a bit of speed. And it wasn’t going as fast as people think it does, so that it looked right. It was a fun day. Only the band and the actual film crew were allowed on the flatbed, where the band were performing, because of the way it was being filmed, you could easily be in shot, so the less people that were there – the better. John was having a ball, I remember him laughing a lot, he was enjoying himself. And there was a normal carriage, like a dining car, but old, 1930-1940s, and that was where we would have food and drink. And it was wonderful. It’s a working old train line, it’s a tourist thing, but it’s great, it’s really-really nice and it’s not that far away from London. And Freddie was enjoying the shooting. I was surprised when I saw what he was doing on that flatbed, he was leaning over the edge as the train was going along, but again, it looks faster than it was. It really was only going at about 25-30 kilometers an hour. But it’s made to look as though they are speeding along.

PS: And what was the very first Queen video you were presented on?

PF: The very first video that I was involved with was “Save Me”, because it was shot during two shows of the “Crazy Tour”, I think it was at “The Rainbow” and it was shot at “Alexandra Palace”. Because it was the mix of the live action, the cartoon girl, the bird – and that was the hardest thing – to get Freddie to almost catch the bird, the pigeon. They had to re-film it for about 15 times. And it was where David Mallet, the director, fell of the stage into the orchestra pit. Everybody panicked for a few minutes, but then he stuck his head up “Oh, I’m alright”. It was about 2-3 meters he felled. And then followed all the post-production with the girl, with the cartoon, and how they blended the live pigeon to become the cartoon one and all that sort of work – all of it was done afterwards and it was done before Christmas 1979.

PS: And what was the very last Queen video you were presented on?

PF: “I’m Going Slightly Mad” video. I remember the penguin on the couch moment. Actually most of all I remember the way Diana was with Freddie, because she just took such a good care of him, she had special thermal underwear made for Freddie, because right from my meeting with Freddie in 1979 I remember the easiest thing for Freddie was to feel cold. And it only got worse the more sick he got. And she had special thermal underwear made for him that went underneath the shirt and the suit. She just was there for him all the time and it was just wonderful to see.

PS: And did Freddie usually have cold hands or he had normal temperature of hands?

PF: He could have normal warm hands, but often they would be cold. So maybe he could have a blood circulation problem.

PS: Can you remember something about the shooting of “I Want It All” video?

PF: I don’t think I was at that one, because that would have been Joe, Joe Fanelli would have been there, because we sort of took in turns – he would go to one, I would not, I’ll do all the stuff at home, then I would go to one and he would stay at home.

PS: And it was also the same for you take the turns in concerts?

PF: No, I was on tours with Freddie from 1979 till 1985 and then Joe took over from the last part of 1985 and 1986.

PS: And why you stopped going on tours and Joe took that part?

PF: Because Garden Lodge had been completed and to keep the insurance cover someone had to be living there, so I got to live there. I moved in six months before Freddie did. And Freddie moved in in the middle-end 1985. Because what we did was – Freddie was at Mary’s home and Terry and I took Oscar and Tiffany away from Stafford Terrace. Because Freddie was supposed to move in and he kept putting it off again and again, he said “I’ll do it tomorrow”, “I’ll do it at the weekend”, there was always a reason, an excuse, so what Terry and I did – we went and kidnapped Oscar and Tiffany and took them to Garden Lodge. And then, when Freddie went home and he was looking for the cats, Terry said: “No, they are not here, they are at your other home” – and Freddie moved within two days.

PS: And what was it like living with Freddie in Garden Lodge? What are your first memories of start of living there?

PF: At that point I was living above the kitchen. Joe and I had rooms that were above the kitchen, just up those stairs. And it just felt strange just to be living in that house. The thing is, I’ve been living with Freddie for years, because whenever we were in hotels it was always a two bedroom suit, so I knew how he was, what he would do, what he needed in the morning, how the moods could change, that was all standard, that was all normal. The difference was being in the luxury of Garden Lodge, knowing that it was a house, not the hotel, and the fact that he had made us promise, both Joe and myself, that we would treat this place as our home. It wasn’t just work and somewhere to stay because of work – it was our home.

Some houses have energy, they have a feeling, and while Freddie was in Garden Lodge it was a really warm, friendly house.

PS: And the atmosphere in the house changed almost at the moment Freddie passed away, right?

PF: Literally. For me, while he was still alive, even in those last minutes, it was still the same house, but literally within minutes, while we were waiting for the doctor, it just became bricks and mortar, it just became somewhere to sleep, somewhere to live.

PS: You mentioned living together with Freddie in hotels, but do you remember living with Freddie in some flats or houses before Garden Lodge?

PF: We were living in his apartment in New York. The way it was set up there were two bedrooms, sitting room, dining room, kitchen, a maid’s room and a sort of TV room.

And later we lived together for six months in Los Angeles. Recording “The Works”. They rented the big house for Freddie. A nice house, big-big house. It belonged to a doctor, who just constantly rented it out to stars, who needed somewhere to stay while they were filming. Elizabeth Taylor apparently stayed there, George Hamilton was there, lots of different film stars used it. It was a big house in nice big gardens, it had a swimming pool, had a tennis court, you know, it all the things you need.

PS: And it was actually two of you living there together?

PF: Yeah, Freddie and me. And Terry was there too, to drive.

PS: And speaking of Freddie’s New York Times, can you actually remember what was his the most favourite part of the city?

PF: Most evenings he would end up down on Christopher street, which is down near Greenwich Village. Because there were bars around there, clubs around there, restaurants around there, everything was there in that area, in the West Village.

PS: Our next topic is about Freddie Mercury and George Michael; we can see them together at “Barcelona” album launch party and Queen 20th anniversary party – do you remember the interaction between them?

PF: They actually met up at Live Aid, after it finished. We had to stay in the bar, because there were absolutely no way any cars were going to get out of the stadium area, because of the traffic and everything. And that was the very first time that they actually met. Freddie admired him, he thought George had a great talent both in writing and in singing, but there was no special friendship, because Freddie didn’t create big friendships with other musicians. He preferred, so to say, normal people. And also he enjoyed actors and actresses, their company, more than other musicians, because the way he felt, most musicians just wanted to talk about music and he had many more interests. So, yes, if Freddie and George were in the same place, then yes, they would meet up and they would chat about what was going on in their lives, but most of it was always about work. Their conversations would always be like “what was the tour like” and they would laugh, because they would make jokes about what they had been doing. Freddie could make a joke out of any situation. He didn’t tell anecdotes as such, but he could see something and he could make a joke out of it.

PS: As you mentioned Freddie having friends among actors and actresses, could you remember some of them?

PF: Anita Dobson, Debby Bishop, Carol Wood, Pam Ferris, Susannah York. One he would like to have met and she lived literally just across the road, but it never came, was Diana Rigg. And he was incredibly happy when I gave him an autograph from Honor Blackman. I met her and I said “Could I have an autograph, please”, she says “yes, of course, who’s it for?” and I said “it’s just for my friend, Freddie”. And he was overjoyed with it and he kept it in his bedside drawer.

PS: And who was his favourite actors?

PF: Franco Nero, James Mason, Laurence Olivier. And he got to meet him, so that was another of Freddie’s absolute joys. Dave Clark took Freddie to dinner at Laurence Olivier’s house. It was when they were working on “The Time” musical.

PS: And it was actually very last Freddie’s live performance, can you remember something special about it?

PF: Yes, April 1988. I just thought how amazing it sounded. We all heard “In my defence” before, but when he did “it’s in every one of us” as a duet with Cliff that was absolutely amazing. We had goose bumps. And then after the performance we went to Cliff Richard’s dressing room, sitting and talking there.

PS: And you said that Freddie didn’t have many friends amongst musicians, but could you remember something special about Freddie and Elton John’s friendship?

PF: They first met back in 74/75, when Queen were managed by John Reid and in those days both of them were constantly touring so they could rarely meet up. But every now and then Queen would have just done the show and Elton would be performing the next day, so he was already in the hotel and we would meet up and go round, sitting in Elton’s room talking. And then for about a couple of years after Freddie’s diagnosis they didn’t see each other, but then Freddie told Elton about his status and for the last year and a half Elton would regularly come to Garden Lodge. And in Freddie’s last two weeks Elton would ring us, say what time he would arrive, so that he wouldn’t be seen arriving, he wouldn’t come through the front door, and we would let him in through the Mews in his mini, so nobody knew he was there. He had to go to Paris to record, so he gave me all of the numbers: hotel number, the studio number, his mobile number, his assistance’s mobile number, all the numbers, just to let him know when it happen, because he knew it was going to happen. And at the very last time he came to Garden Lodge, he drove in one of his Bentleys and parked it right outside the front door and the press were running over to him asking “why are you here?” and Elton just turned around and said “I’ve come to see my friend”. And that was it, he just came in and they sat and talked. And when Elton came, it was really just Freddie and him in the room, just talking.

PS: And what was the story about Freddie getting his leg damaged in Munich?

PF: Freddie, when he had a few drinks, he would pick people up, just lift them off the floor, to show how strong he was. So Freddie had picked someone up and then someone next to him bumped into his knee and the ligaments tore, because instead of the way it was supposed to bend the knee bend the other way. Freddie then dropped the person he was carrying, he was screaming in pain and we had to go and get it set. When Queen filmed “It’s A Hard Life” in the end of the video, you can see him favouring the leg.

PS: And as you mention “It’s A Hard Life” video, Freddie’s friend Barbara Valentin stars in this video and she was a star in films of Rainer Werner Fassbinder – did Freddie ever discuss his films with her?

PF: Yeah, because she had videos of them. Freddie did meet Fassbinder once. They were in the “Deutsche Eiche”, which was Fassbinder’s favourite restaurant, he was always in it in Munich. And Barbara would take Freddie there every now and then. So Barbara introduced them to each other, they talked a bit, but they were there for lunch, it wasn’t a planned meeting or anything like this.

PS: And what film directors Freddie admired?

PF: Vincente Minnelli, George Cukor, the directors of the 40’s-50’s.

PS: What are your memories of Joe Fanelli?

PF: He was American. The first time I met him his relationship with Freddie was just finishing, this was in 1979. But he stayed in London and worked a lot in London. He was working in different restaurants. He was an amazing chef. And they kept in touch over the years and that’s why when Garden Lodge was finished and someone had to be there, that’s when Freddie thought to bring Joe back. And it worked, because Joe used to go to the gym all the time and he was taking care of himself, which he didn’t do so much when he was with Freddie. He was great. He was amazing on the computer. Computers were just starting, but Joe could write programs and things. Freddie’s favourite programme on television was “Countdown”, which is where they pick out seven letters and you have to make the longest word you possibly can out of those seven letters and then there’s also the numbers thing as well – and Joe created that on the computer for Freddie so that he didn’t wait for it just on the TV. He was fun, and he was good; it was good working with him and most of the time we just got on so well. Garden Lodge would not have been the same without him.

PS: And you mentioned Joe programming “Countdown” for Freddie so Freddie could actually play this game on computer?

PF: Well, no, he couldn’t, but he could sit there and Joe would do the computer. The computer was bought by Freddie for Garden Lodge and it was set upstairs on the musician’s gallery in the big sitting room.

PS: How would you describe the relationship between Freddie and other Queen members?

PF: They were all close to each other, but in a different ways.

Freddie was close with John. John was the new boy, he was the last one to join, he was the youngest, and Freddie just felt protective. He wanted to protect him a little bit for the dangers of rock’n’roll. But then John got married, had Veronica, so he had the security of home, and John was not around Freddie as much, but it didn’t stop the friendship because of what happened at the end. John just decided to finish because Freddie wasn’t there anymore.

With Roger it was a different friendship. And a very good friendship, because both of them had similar personality trait, they both enjoyed a good drink; they both enjoyed a good party.

And with Brian, of course, they were friends, but Brian was much more serious and Freddie was much more of a laughing person than Brian. Brian thought about things so much. But Freddie knew that he would never find anyone better than Brian to help him with the music.

PS: We know that Brian and Roger visited Freddie in his last days, but we never heard of John visiting Freddie.

PF: I don’t think John was prepared to see Freddie looking like he did in the last days, but John came and visited Freddie before those last two weeks. I know that he did come to the house, but I don’t think he could accept seeing Freddie the way he was in those last weeks.

PS: Freddie started to get a lot worse in those last two weeks?

PF: For the last two weeks Freddie hardly ate, he hardly drank. He was taking no drugs that were keeping him alive anymore, he was taking painkillers, and that was it.

PS: What was the reason of Freddie’s last visit to Montreux?

PF: He just wanted to get away from London. He wanted to have a little bit of peace and quiet away from all the press. He had that apartment in Montreux, so he went there.

For the last two-three years of his life he would be there every other month for a couple of weeks. There was no feeling of “this is the last time I’m going to Montreux”, that wasn’t part of his mentality, he only decided that this was the last visit when I called him, because I wasn’t with him, Jim, Joe and Terry were with him at that time, I was in Garden Lodge and I rang him and I said: “Look, just so that you are aware when you come home, that there are press outside the house 24 hours a day. In the nighttime it’s down to about four or five and in the daytime it’s up to about twenty”.

And that’s when he decided that when he went into Garden Lodge, coming back from Switzerland, it would be the last time, because he knew that he would never be able to get out again.

PS: And how long was he there for the last time?

PF: For about two weeks.

PS: And how do you remember him when he came back?

PF: He was sort of happy, but he was a bit withdrawn, because he had made the decision that when he came into Garden Lodge, it would be the last time, that he would never leave it again. He already had decided that, so, of course, he was a little bit more thoughtful, more inward thinking rather than being laughing and all that. But still, even in those two last two weeks there were still times when he would laugh, because he never wanted sad people around him.

PS: What are your last memories of Freddie?

PF: Since he got back from Switzerland on the 10th, he basically stopped eating and drinking. He would have a little bit, but that’s it. So, of course, he was tired, he had no energy. Most of the time he had short sleeps, short sleep –wake up, short sleep – wake up.

In those last two weeks, except for his needs, the only other time Freddie left his room, was when Terry carried him downstairs, on the Wednesday, 20th of November, because he just wanted to look around the main room, he just wanted to have a last look at paintings, at the crystal. He just wanted to spend some more time in that huge room where he felt most comfortable.

The last week of Freddie’s life he was actually never alone, because between Joe, Jim and myself, we would spend twelve hours with him and there was always one of us with him. We did the shifts from eight in the evening till eight in the morning. The last time that I was with him was on the Friday night. And on that Friday night I got there just before eight o’clock. And, you have to remember, that at eight o’clock the statement was released to the world that Freddie had AIDS. The thing is, those hours I was with him, he was the most relaxed I had seen him in years, because there was no secret anymore, the whole world knew. And he would just talk about anything, he would be in bed, I would be sitting on the bed next to him and I would be just holding his hand. The television was on, just for some noise, he would talk and he would go to sleep and talk and go to sleep. And we talked about silly little things, nothing really serious, and nothing like “we knew everything was coming to an end”, there was none of that. He could still talk fine, his mind was together, he just was very-very tired.

But, I think, because the statement had been done, I think Freddie felt that it was time for him to go. Because it was coming up for eight o’clock and I think it was Joe coming in at that point, Joe was coming at eight, and I said to Freddie something like “Look, okay, I’m going now, Joe is going to be here, but, of course, I’ll see you, I’ll see you soon”, he said something like “uhum, yeah, yeah”.

And then he just took my hand, looked me straight in the eye and just said “Thank you”.

And I will never know, whether he already decided that we would never meet again and was thanking me for the last twelve years, or if he was just thanking me for the last twelve hours.

But I have a feeling that he already knew that we would not see each other again.

PS: Do you remember when you for the very first time understood that you are not just working with Freddie, but you are becoming friends?

PF: That really started from the very-very beginning, because we didn’t have to always talk to each other to know what he wanted. I understood him. Because of our similar upbringing in boarding school in India I knew why he reacted in some ways, why he did things, I knew it, it was just instinctive and it made everything very-very easy for him and for me. Maybe it became more intense when Freddie started the time out of Britain, because we were going to be together 24 hours a day, so you have to be friends. And for me, it was the easiest thing on earth to be friends with Freddie. I never thought about Freddie, The Superstar. I was thinking about Freddie, my friend.

SPECIAL THANKS TO VALUREX FOR CONTRIBUTION AND ASSISTENCE

#MR interview with Phoebe #queen #queen band #freddie mercury #roger taylor #brian may #john deacon #peter freestone #joe fanelli

[thepriceofbeingaroseisloneliness]

GIGS No519 Interview Toshiya [Bass]

Despite the hidden gimmick elements in the new single “Oboro”, which brings to the fore “simplicity” and “clearness”, Toshiya’s bass sound has a strong presence. With his words, we are going to start the second half of the solo interviews.

“[Oboro] is a song that holds both DIR EN GREY’s essence and novelty. For me, rather than that uniqueness and novelty, I felt this is going to be the core song of the album.”

Notes before reading: This is Toshiya’s solo interview from GIGS No519 June issue released on April 27th. 

You can buy the magazine at Amazon Japan.  Feel free to correct me if you spot any mistakes or any confusing parts. Links or credits to this post when the content is reposted or captured in other SNS is appreciated :) ----------------- *Toshiya’s interview comes after Kaoru’s, Die’s and an analysis of the latest gear, that’s why in the introduction of his interview the “second half” of the solo interviews is mentioned.* Text by Yukinobu Hasegawa Photos by Reishi Eguma. -You were already composing and arranging songs for the new album and from that, “Oboro” was first announced as a single. What kind of mindset did you have when you tried to move on to the next album from the previous one “The Insulated World”,released in 2018? T: At the beginning, I didn’t have any specific image of the album as a whole. -I think you want that (image) to appear naturally while you are doing the creation work. T: That’s right but as I feel like I’m always making songs, whenever I start, I only have the mindset of “let’s make something good”. -The songs you composed (from early stage) have not been released to the world yet but, what kind of songs did you make? T: Surprisingly, simple songs. Not very detailed. But I think it depends on the song. I started writing songs thinking I wanted to make something different from the previous DIR EN GREY, but there were some parts that seemed too different for me. So, I feel like I'm still searching for the direction of them. -Looking back at the various songs that you’ve made in the past, I feel like you tend to prefer an avant-garde* approach. So, I was a little surprised when you told me you were working on a simple song.

* Avant-garde is a tend for music that  sounds nothing like the music we're accustomed to, experimental, considered to be at the forefront of innovation. T: Ah, I see. But basically, I think I'm a simple person. I've made songs that feel avant-garde but it’s just that such songs were easy to be accepted/used (by the band). I don't know the specific reason, but I think it's probably because the range of the band will be expanded. However, many of the songs I make myself are very simple. -Even if you say "simple", I think people feel differently about it. For example, Shinya also says his drum playing is “simple" but it's actually very difficult.  How does that simplicity that you mentioned feel for you? T: That's right…..I'm wondering how to describe it, but to put it simply, it may not be something very DIR EN GREY-ish. I think many of the simple songs I make are like that. -What do you think that is “DIR EN GREY-ish”? T: Our band is probably "heavy" or "intense"…. Another things that is often said (about the band) is “complexity”, I think that’s the image of the band. With that in mind, the songs I make aren't very DIR EN GREY-ish. Of course, when I write a song, I'm aware of that. -Do you dare to make something that it’s far apart from those ideas? T: It’s the other way round. I’m not trying to do something close to that, but I’m like “I have to take it in the direction of DIR EN GREY a little more". But from that point on, I started thinking, "How about getting too close?”, "It's more interesting to be in a slightly different place." Well, I might just think those things on my own (laughs). -Are the avant-garde songs born from those thoughts? I think musical input and stimulation are also important when you are composing.  In 2020, we were in a situation in which you couldn’t do many public activities but, how did you get that input during that time? T: Basically, even with this corona situation, there are some things that haven’t changed much. If I had to say something, I can spend more time on composition and production as there are no tours or live performances. Regarding the input part, it seems to have changed, but I feel like it hasn't changed. Besides, I don’t think it’s something I’m conscious about so, I haven’t changed anything in my music because of Corona. -Last year in August, “Ochita koto no aru Sora” was released in a digital format but, I think this song has a complex pattern in the development of the next step. What was in your mind when you were arranging and recording this song? T: Riffs are also the main melody of the song so I basically listened to the guitar riffs and arranged it so I could put my own play in some parts. In terms of sound making, there isn’t much change. Making in a basic way the feeling of my favourite distortion, it feels like mixing various things there. -For the past few years, you've been actively experimenting with various bass effectors every time you record, but have you tried several of these in the "Ochita koto no aru Sora" recording? T: Basically, I don’t remember which one I used anymore (laughs), but the basic system hasn’t changed, the head is an ampeg cabinet from the 70s, I think it was SWR. In the recording of the previous album "The Insulated World" the bass I used was also a dingwall one. That bass can be used for almighty (pedal). *1.A bass cabinet is the box with the speaker.   2.Ampeg is a manufacturer best known for its bass amplifiers.   3.SWR Sound Corporation is a specialist manufacturer of bass guitar       amplifiers, preamps, speaker cabinets, and acoustic guitar amplifiers.  4.  Dingwall Designer Guitars is a  canadian manufacturer of bass guitars.  5.  Almightty is driver pedal for bass.

- “Ochita koto no aru Sora” was a song with a positive message. Did you find a new direction as a band giving shape to this song?

T: There might some different aspects now but at that time, it may not have changed. I don't think we can completely overlook that, so I can't say anything about it. However, “Ochita koto no aru Sora” itself was made completely to be a single. That's why there may be new things, but surprisingly, I have a strong sense of putting out what was inside us in that way. In what way is it the opposite? Does it feel “new”?

-There are various elements, but I feel that each one is like DIR EN GREY-ish. However, it resonates very much that the lyrics leads from a negative perspective to a positive one.

T: I see. Regarding the lyrics, I think it’s a continuation of the taste of other songs we’ve done so far, but I don’t know because I haven’t asked. However, although the flow of the lyrics are not the same in content, I felt like it was written from a close place.

-The song that follow this one is the new single “Oboro”. Kaoru wrote the original melody but, what was your impression when you first listened to it?

T: I don't think it's much different from the finished form in terms of feelings. The intro had this kind of atmosphere from the beginning. I think it's a song that holds both DIR EN GREY’s essence and newness. However, I personally felt that "this is the core song in the album" rather than being unique or new. As a result, “Oboro” became a single, but at first it wasn’t written with that purpose. We suddenly talked abour releasing a single and after that, as we all agreed that it was a good song for that, we decided to choose it as a single.

-From what part of the song did you feel that it was going to be the core of the album?

T: I felt that this ballad-type atmosphere and feeling really stands out in the album. Because of that, we decided to release it as a single, but we haven't released many singles like this, so I think it made a good change.

-The fact that you feel that  a ballad with a melody  it's going to be the core of the album….does that mean that the other songs are the opposite of it? It seems to be quite an atmosphere where this amazing song was born! (laughs)

T: Well, I can't say anything about that because not all of them have come out yet (laughs). However, it's easier to make a slightly up-tempo songs, so I wonder if there are many songs like that for now. Even if I actually make a song, I don't know if it will be included in the album, so I can't really say anything about the direction of the album or the feeling of the songs. However, "Ochita koto no aru Sora" was made to become a single, so there are a lot of parts of it that hit the target. And as for "Oboro", I felt that it was meant to be release as a single, but also that it was meant to be kept for the album.

-For example, do you change the arrangements and the bass approach if it's an album song or a single song?

T: Yes, it changes. It's completely different for me if is going to be a single or if it is going to be a song for the album. Even if I make  the original melody, it’s different on how much time it takes. Singles are harder to do. You can work more relaxed if it is a  the song for the album. For singles, I feel that the part I am aiming for as a bassist is very strong at the time of elaborating the arrangement.

“If you think that everyone has slowed down in many ways, I think you can start running again. I think it's better to act than to think. So, I'm looking forward to the future.”

-Did you do a lot of trial and error in your part when you made the bass arrangement for "Oboro"?

T: It’s really a minor part. It feels like the details are boiled down when it seems to be a bass phrase like that in a rough flow. The bass in the demo of the original song had many root-playing (basic) phrases so, how to elaborate them from there? what do to with the cadence?  However, “Oboro” has a bass line that snuggles up to the song, I think this phrase has the strongest awareness of song melody.

-While focusing on that sustain-based roots playing components, some bass phrase will come up when you are doing the arrangements but won’t turn out very showy. And when it comes to the ending of the song, it will show fierceness while increasing the distortion of the sound. I felt it was a carefully selected phrasing.

T: I think it’s easier to hear it at the ending of the song, but that distortion is actually there during the whole song. Not only the ending part is distorted but also the beginning. However, when all the instruments came together, I don’t think that distorted feeling could be properly heard. Even if it's distorted that much, surprisingly, it goes well easily. I usually have two patterns at the time of recording. For example, even if you use the same distortion effect, the distortion is applied with a little shallow sound like a hunting sound. So, this time, it was a way of finding what I felt comfortable with when it got mixed with the sound of the band.

-So the reason why you can’t hear that distortion in the first half or the middle of the song is because it got completely blended once the sound of the band got together?

T: That's right. I think there is a perception that if it is distorted, the sound will inevitably be drawn into it. However, if it's distorted that much, it gives a plump low feeling and you can see the phrase. It's simply because we don't stack as many guitars as we used to. Sometimes the sound of each instrument can be heard firmly, so the approach can be focused on what you want to hear. To put it simply, I think it's a big thing that the direction of the band has become simpler. So, in recent years, I think the balance of the band is very good at the time of put together each member’s part. I think that vocals are especially attractive in "Oboro".

-Kyo is very fast adding the lyrics, I’ve heard that he finished recording his part before the instruments  (recording) were done.

T: That's right. "Oboro" already had the vocals done at the stage of recording the bass. However, although he recorded it first, in the end this part will be the last one. After all, it seems that there are parts  he wants to record again once the other parts (instruments) are added. However, even if it is not the final form of the lyrics, if they are already included, the nuance of the phrase will change. Maybe it’s the same with the other members. I think everyone ends up arranging their parts for the lyrics.

-So, the idea was to keep the bass of "Oboro" as simple as possible?

T: Whether you're playing or listening, it was a simple form that seemed comfortable. I think a phrase that requires a lot of work is also good. If there is a song that suits that idea, I wonder if I should take a laborious approach. In that aspect, I thought the dynamic of “Oboro” feels as pleasant as possible. However, I was allowed to play a bit with it. I think the proportion and the sense of balance are also good.

-Did you choose to record some takes while changing your approach?

T: "Oboro" was decided by the current phrase from the time I did pre-production work at home.So, when I recorded in the the band's pre-production room, I just made a few minor corrections when I made the actual recording. As for the mix,  regarding my part, it was a good feeling from the beginning

-Neal Avron has been appointed as a mix engineer this time. Did his mixing work significantly change the nuances of the bass sound?

 T: It has changed. But the biggest change depending on the engineer is the sound of the drums. More like, I feel that the personality of the engineer can be understood in this aspect. Personally, I think the vivid and deep sound of the "Oboro" drums is good.

-A remake of your song "T.D.F.F" is recorded as one of the couplings. What kind of mindset did you have approaching this song including the arrangement?

T: As always, I thought about the phrase from the perspective of what it would sound like if it were done by my current self. When we do a remake, I listen to the original version of the song to confirm what I was playing at that time. Sometimes it's interesting to discover that I was playing it live with the wrong idea(laughs).

-The person that you were at that time is brought back as well?

T: There are times that happens when we rethink our approach. It was like this at that time, but I think it's different to do this phrase now, or to do it with a different feeling. Some of the old songs are due to youth, I have a variety of knowledge and experience now. So, there are times when I change to an approach with a completely different interpretation, and there are parts where I want to play faithfully to the original. For example, keep faithful to the main phrase that  would change everything if you changed that. At the time of "THE UNRAVELING" (released in April 2013), I had a strong desire to change everything if I wanted to remake it, so I changed it completely, but in recent years I have been thinking about the original carefully and the idea is to put my current sense into that. Because when you're making a song, it's your song, but it's not only yours. In that case, it’s better to capture our thoughts and the memories and the thoughts of the fans together in order to shape that song in a good way. If you want to make a bold change, I think you should use that idea to create a new song with it.

-The other coupling song is a live track from the concert without audience at Meguro Rockmaykan. What do you remember about this?

T: It's one of the first stages I've stood on since I became a member of DIR EN GREY, but the Rockmaykan with no audience felt strange. When the live starts, there is only one thing to do, so it's not much different from usual. But I’m not sure if there is something extra in it. It’s not about the call and response (from the audience), I think that the tension inside me is different depending if there are fans or not. After all it is more interesting to have audience. It can also inspire you. I think that such a form of live is also a possibility in times of Corona, but it doesn’t have to be like this every time. However, I learned a lot from this new experience with this new way of expression. Besides, it was a confirmation that there are various things that can be done in a situation like this.

-After this, there is a concert with audience on May 6th. How are you feeling now?

T: I'm looking forward to it and I'm happy. Above all, I am very grateful to be able to perform in front of the audience. Something that used to be normal is not normal anymore, so I wish I could do it with a new feeling.I think the world has simply changed due to Corona. Until now, everyone was running, and I think there was a huge difference between each person’s position. However, because it's all gone, to put it the other way around, everyone restarted from the same position. How does each person perceive that? Of course, the negative effects of corona are huge, but just thinking negatively does not change anything. So, if you think that everyone has slowed down in many ways, I think you can start running again. I think it's better to act than to think. So, I'm looking forward to the future.

#dir en grey #toshiya #translation #gigs #oboro #toshiyatranslations

[nekoma-manager]

HAIKYUU: FAVOURITE PLACE TO TAKE YOU ON A DATE PART 2

includes: suna, oikawa, tanaka and semi

trigger warnings: none :)

SUNA

midnight drives with suna are just so calming and sweet

they’re usually surprises and happen when neither of you can sleep

suna will always show up to your place to pick you up and he’ll never forget to bring you your fav from mcdonald’s

you two have a specially curated playlist for midnight drives which is filled with 2000s pop that you sing to at the top of your lungs

he loves the idea that the two of you are alone in the city/town, everyone else is asleep and you two are the only ones left in the world

once you arrive to a big open area (e.g. a field) you’ll both climb into the backseat and just hold eachother - gives you forehead kisses when you lean into him

OIKAWA

mall dates!!!

oikawa will drag you by the hand to every single store, without fail

he likes to watch you try on outfits that he picks out - he’ll try to pick stuff out that you normally wouldn’t wear to get you out of your comfort zone (loves to see the little blush/shyness when you try on something a little too revealing)

you play a game where you each get 20 minutes to walk around a single store and pick out an outfit for the other (as a surprise) and they have to try on whatever it is the other chooses for them

you try to be nice and pick outfits he’s actually like while the asshole picks out dumb shit like a carrot costume

TANAKA

mini golf dates with tanaka are a regular occurrence since you two started dating

you have basically explored every possible mini golf venue where you live to the point where the employees at every single one know the both of you

they also know you guys will be loud, but they secretly love enjoy watching how the two of you can just enjoy yourselves without a care in the world for what’s going on around you

you’re both super competitive and trash talk eachother - but lovingly

tanaka is often torn between wanting to win and being the awesome boyfriend, and letting you win because he loves to see you smiling after a win

SEMI

live music - either his or another band’s

when he performs he likes to find you in the crowd and blow you a kiss before every song

in his heart, every song he plays is dedicated to you

when the two of you go to watch other bands he’ll always sing the songs he recognises and encourages you to do the same

semi-semi holds you in his lap with your back to his chest, arms wrapped around your front to make sure you don’t fall - he’ll whisper the lyrics of love songs in your ear and give you sweet little kisses in between verses

part 1 | masterlist

a/n: hello peeps! lovely to see you again i hope y’all have had a wonderful day :) let me know what you guys would like to see next <3

#haikyuu #haikyuu x reader #haikyuu x y/n #haikyuu!! #haikyuu hcs #tanaka x reader #tanaka x y/n #tanaka x you #semi eita #semi x reader #semi x y/n #semi x you #tanaka ryuunosuke #oikawa x y/n #oikawa x reader #oikawa x you #suna x reader #suna x y/n #suna x you #suna rintarou #semi hcs #suna hcs #tanaka hcs #oikawa hcs #hq tanaka #hq oikawa #hq semi #hq suna

[ofbooksandaesthetics]

Battle of the Bands

Attack on Titan/ Shingeki no Kyojin 

Levi/Reader

Modern Band AU

Summary: As the guitarist of The 104th, you are invited to play with your favourite band The Scouts. 

Warnings: slight profanity but not much 

Author’s note: I listened to Queen of White Lies by Orion Experience 10 times in one bus journey and couldn’t help but imagine Jean singing it about Mikasa. And voila! This imagine was born :) 

From a young age, you’d always been obsessed with music. From your dad playing jazz on a lazy Sunday afternoon to your mum playing R&B as she cleaned, you had always been surrounded by it. It followed you everywhere so it was no surprise when you were gifted a guitar for your 9th birthday. 

You spent hours each day practising fingerpicking, then moving onto chords and then fully-fledged songs. As you grew so did tastes - and your guitar collection. 

Before moving into the 6th grade, your family moved for a new job, leaving you without friends and having to start a new life in the city of Trost. The one thing that was ever consistent was the strings of your guitar and the beats from the speakers, which became your solace in the coming weeks. And said beats caught the attention of your new next-door neighbour. 

Jean Kirstein was also massively into music, and when he walked past your house he could hear the amp blaring from your open window. He became enthralled and would often leave his window open to catch even just a few notes. 

The Saturday before school started, Jean was forced by his mother to introduce himself to you (she said you had to have at least one friend before starting school) and by doing so Mrs Kirstein caused a life long friendship to bloom. He was forced into your house by your mother and lead upstairs to your room. He was greeted by band posters, from MCR to The Beatles, and an acoustic and electric guitar hanging on the wall side by side. But what caught his gaze was the massive “SCOUTS” poster above your bed. 

“WOW! That’s so cool, you like The Scouts!” He exclaimed as he entered your room, causing you to jump from your magazine and stare at the brown-haired boy invading your space.

“WHO THE HELL ARE YOU?” You shouted, giving your mum a quizzical glare as she smiled at the boy's excitement. Your voice seemed to pull the boy out of his oasis and he met your eyes with a blush and a shrug.

“I’m Jean. My mum sent me, we live next door.” Before you could introduce yourself, he had already started to speak again “I’ve heard you playing your guitar. You’re really good!” 

At this your mum left the two of you two it, only returning 3 hours later to find you both on the floor, with you playing whilst Jean sang along. Noticing the time, Jean jumped up remembering his mum warning to be back by dinnertime. 

“It’s been great meeting you! If you want I can meet you outside on Monday and I’ll introduce you to my friends. They’d love to hear you play too! Connie’s really into the drums and Marco has been learning bass.”

Hearing this your eyes lit up and your mum’s heart warmed at the idea of you finally enjoying your new life.

“That sounds great, I’ll see you then!” You called as your mum lead him out.

                                         4 YEARS LATER

The years passed quickly and it didn’t take you long to forget the pain of your old life and become enamoured with your new friends. Jean did indeed introduce to his friends Connie, Sasha and Marco, and it didn’t take long for you to become the best of friends. The five of you would all meet Connie’s garage, sometimes just chatting but more often than not bringing along your instruments for a jam session. Four years went by of you playing lead guitar, Marco jamming on bass, Connie smashing on percussion and Jean accompanying with his gruff drawl, whilst Sasha sat atop of the counter, sadly not having any musical talents other than occasional tamborining. And the four years went by easily until Sasha let out a suggestion.

“You guys should start a band. Like a proper one, with gigs and shit” She declared, soon after stuffing her mouth with a cake Mrs Springer had brought in. 

“See at least someone appreciates my musical talents” quipped Jean with a quirk of his eyebrows, causing you all to laugh. 

“I’ve got to admit, I’m down! We’ve been playing for years, we even played at last years prom.” Seeing no reason against the idea, you voiced your opinion. 

“Yeah but that was prom. We know all of them anyway, if we did gigs it would be to strangers and critics and stuff” Huffed Connie. 

“Yeah, and potential talent scouts! Imagine if we got signed! What do you think Marco?” Jean turned to face he freckled boy awaiting his response. 

“I guess it could be fun.” He said, tilting his head to the side and turning to Connie. “I think we should” 

With a consensus of four out of five, all eyes were set on Connie, pleading him to agree. He spluttered, not expecting you all to be serious. After a moment of staring at you all incredulously, he finally gave in.

“Fine! But if we got told we’re shit it’s on you guys” He sighed, but was drowned out by all your cheers. 

                       2 YEARS LATER

After that day, you had all put in the effort to perfecting your craft and coming up with your own songs. You and Jean would have weekly sleepovers, pulling all-nighters to get the perfect verses. And it wasn’t long until you booked your first gig, which was a success. Nearly the whole grade had turned up to support you, and you soon became a local legend. And in honour of them, you had named your band The 104th, due to being the 104th grade since your school was founded. 

Your increased fame, got you gigs outside of Trost, on larger stages than the small bars you were used to. You had released your first album and we’re having a small jam session, when Sasha’s, who had taken up the role as manager, phone rang. You all carried on with your conversation until Sasha quickly stood up and ran across the room, her voice getting slightly louder, causing you all to stare at her.

“OMG! That sounds great, we can be there for the soundcheck in less than an hour. Thank you so much, for this opportunity. We appreciate it! Thank you, bye!” She exclaimed with wide eyes as her smile grew and grew. After ending the call she whipped around, before letting out a screech 

“OI, OI! What’s going on?” Asked Connie, as he walked up to Sasha flicking her forehead as she squealed again. 

“GUESS WHO’S OPENING FOR THE SCOUTS?!” She all but screamed whilst running to the front of the garage and throwing your jackets at you all. Realising what she meant you stood in a state of shock before opening your mouth. 

“What do you mean? Opening for The Scouts. As in THE SCOUTS? They’re playing tonight, we can’t open for them.” You justified, meeting Jean’s stunned gaze. 

You two had always imagined what it would be like to meet your legends, let alone open for them. After your initial meeting, the two of you had gone on for hours about your favourite songs by the band and sang along to them. You had even let him in on your crush on the lead guitarist, Levi Ackerman, for heaven’s sake. As good as an opportunity this was, you were a nervous wreck. It was one thing to play on the same stage that your favourite band had stepped on, but to play with them and meet them. That was a thing of its own. 

You were knocked from your thoughts by a shoe to your head, and as you focused back in you watched Connie running around like a headless chicken. Attempting to back up his drum kit, he panicked until Sasha assured him there’d be one there for him. The rest of you seemed to kick into action and you ran about gathering your equipment before rushing home to grab gig-worthy clothes. You all met up back at Connie’s house before all piling into Jean’s minivan. Connie and Sasha were as loud as always but you, Jean and Marco seemed to still be too shocked to talk.

As you rolled up to the venue, you saw a queue of about 20 Scout super fans lined up three hours before the gig even started. You wondered how many were your fans, as Sasha had sent out announcements on every social media site possible after you guys left. You hauled your guitar case out of the van before following behind Sasha into the main doors of the venue. The crew were rushing about everywhere, and if you weren’t already used to the atmosphere you were sure you’d pass out. As you walked into the main hall, your eyes fell to the band on top of the stage. All five of you froze, in the realisation that you were in the same room as your childhood heroes. Putting your kit down, you watched as Hange Zoe lazily sat on her drum set, tapping out a quiet beat, as the lead singer Erwin, counted in the beat. Miche Zacharias swayed his hips as he set out the bassline, and Levi almost languidly strummed his electric guitar. 

The five of you were pulled behind the stage before you could watch their practice start but you could still hear it as they performed their soundcheck. Experienced in the world of gigs, the four of you prepped your instruments, tuning them in case they had been messed up in the hurry of your departure. And by the time you’d finished the Scouts were walking towards you. Hange greeted you first. 

“HI! OMG, we’ve heard so much about you guys. You guys are practically famous around here!” She blurted out, her excitement surprising you all. Connie seemed to be frozen as his inspiration complimented you guys. Miche let out a greeting and moved on to sit down. Leaving Erwin and Levi in front of you. Erwin stepped forward and placed out his hand, shaking and greeting you all individually. Now there was just Levi left. 

Your eyes met his and you couldn’t help but blush, as he gave a small nod. Appreciative of the small gesture, you calmed slightly until Jean ruined it

“HI! We love you guys so much. Y/N even has a crush on Levi!” He blurted, his face turning bright red after realising what he had said. You gasped and without thinking smacked him across the head. 

“WHAT THE HELL’S WRONG WITH YOU? WHY WOULD YOU SAY THAT?” But before you could apologise and defend yourself to Levi and Erwin, you were escorted to the stage for your own soundcheck. Glaring at Jean, you got in position, and were done in half an hour. 

After the soundcheck, you were given time to rest, giving you all time to calm down, after the more than lively introduction. You eventually forgave Jean for his outburst but not without consequences. He would be carrying your gear for the next year’s worth of gigs.

You hadn't yet gained back the confidence to talk Levi but had spoken to the other members of The Scouts. Miche and Erwin told you about how their touring band had ditched them last minute and how they needed another opening band pronto. You were astonished to find out that Hange herself had requested you guys, but it filled your heart with warmth knowing someone as famous as her held your small-town band in high regards. 

Everyone could sense your apprehension to talking to Levi but we’re all shocked when the quiet man joined you whilst getting a drink. You almost blushed when you noticed him next to you but pushed the feeling down and smiled at him. Although Jean had embarrassed you beyond belief, there was no reason to push away your childhood dream and miss the opportunity to talk to him. 

“You know you we’re what inspired me to start learning the guitar?” You said. Levi didn’t reply but you decided his silence wasn’t in annoyance. “My parents were always super into music anyway but when I heard your guys' debut album it pushed me towards the guitar.” You watched him finish making his tea and leave but before he sat down, he turned his head over his shoulder. 

“I’m glad to hear it” He replied, turning again and leaving. You smiled, happy that he didn’t think you were a complete freak. 

                      2 HOURS LATER 

The time had finally arrived. From the side of the stage, you could see a sea of people filling the venue and could hear the symphony of chatter. The boys were stood next to you, panting with nerves. You had never performed to such a large crowd before. You took a sharp breath before turning to them. 

“Come on boys! We’ve done this before and we’ll do it again. This is just another small step before we get our own main stage like this!” Your small pep talk seemed to calm the boys and caught the attention of Erwin and Levi who were waiting to watch your performance from the side-lines. You smiled at the two but we’re now filled with dread as you realised they would be watching. You threw that fear away and gave Marco a side hug as you fixed your strap, and then followed Jean to the stage. 

The lights blinded you but once your vision cleared you all but gasped at the sheer amount of sweaty bodies in front of you. You beamed brightly and gave a wink to a figure in the balcony. At least you could seem confident even if you were dying inside.  

The beat of the drum surrounded you and Marco’s strumming blared out from the amps. You started plucking at your guitar and forgot about the crowd. Jean’s gravely word floated out into the dark room, and it was easy to forget you were on a stage and instead it felt like you were back in Connie’s house. As the song reached the chorus, you and Marco joined in, accompanying Jean. Eventually, you loosened up to a point where all three of you were able to dance slightly to the beat during the bridge. This seemed to get the crowd going even more and you let out a laugh, completely forgetting your inhibitions. [I imagined them performing Queen of White Lies]

Once the song finished, Jean introduced himself, and you prepared yourself for another half an hour of playing and dancing. But it passed quickly and before you knew it you we’re all sat on the sofa. Connie was still flushed chugging on his 3rd bottle of water whilst the rest of you leant back with smiles upon your faces. Your attention was piqued as The Scouts took the stage and you all shouted words of encouragement to them. This brought a smile to their faces, including a small smirk on Levi’s. You all rushed to the sidelines to watch and we’re in awe as you saw the four of them play as if they were reading each other's minds. It was as if they were symbiotic, each knowing what to do without even the slightest hesitation. 

Even though you tried to focus on all of them, your focus always came back to Levi. You watched how his brow rested into a scowl as he neared a faster part of the song and how he threw his head back when lost in the moment. Your eyes widened when he took his shirt off after four songs, which Jean noticed, and started to nudge you for. Time seemed to go by so quickly that you barely noticed them finish their final song. They waved to the crowd as they left but stayed in the wings as the crowd screamed for an encore. Erwin still seemed to smile and nudged Levi towards the five of you. 

“Do you guys want to join us for the encore?” He asked gruffly, his eyes set on you. You looked at the rest of the band and you all nodded before you verbally replied. 

“Of course! What song are you thinking?” 

“Nirvana - Love Buzz? You guys know it?” Miche asked, wiping some water from his chin. You all nodded in unison and before you know it you were all kitted up and back on stage. 

The crowd went wild seeing both The Scouts and The 104th back on stage and you couldn’t help but smile as you found Levi stood next to you. You guys let loose on the song and you even attempted to have a little contest with Levi during the guitar solo for dominance. This gained a smile for the man, and you guys finished the song in no time. 

Leaving the stage for the last time, you gave out a clumsy bow before running off stage. You guys went to get changed and pack up your gear but before you could get in the van the Scouts we’re back in front of you. Erwin took the lead yet again. 

“We loved having you guys on stage with us! And after some thinking, we’d love it if you replaced our old band with us on the rest of the tour.” 

At this Jean slammed the van door and stared at Erwin in shock. The five of you looked at each other in shock. The silence was eventually broken by Connie, who let out a scream as he ran around the van, followed by Sasha letting out profanities. The rest of you gushed and thanked the other band profusely not knowing how to appropriately respond. After formally Sasha accepted the other, Hange launched into giving out hugs, whilst Miche and Erwin gave out handshakes. Levi ignored the rest of your bandmates and made his way to you.

“I look forward to more guitar battles.” Levi remarked as dryly as ever but with a small smirk playing on his lips. Luckily this time, the others were too distracted and you were able to reply with some confidence. 

“You mean to look forward to losing right?” you quipped, knowing this would be the start of something great. 

#aot au #snk imagines #aot imagines #attack on titan imagine #shinegki no kyojin imagine #levi x reader #levi ackerman x reader #levi imagine #levi ackerman imagine #aot au imagine #aot x reader #snk x reader #snk #aot

[taylorswiftdiscographyrate]

#160-151

160. Girl At Home (4.416)

Highest score was 7.6; Lowest score was 1

I consider this not being in the bottom five a win! Remember when we all theorised that this song was about Zac Efron? What a fun theory. It’s also fun to contrast this song with later songs such as illicit affairs and ivy. To be both anti-cheating and pro-cheating all within the same discography... the range she has!

Highlighted comments:

@leadinmeon​: “i like this one. not sure why ppl stan it so much”

@corneliaavenue​: “I'm saving my 0, but girrrlllll you were so close to getting it”

159. Bad Blood (4.497)

Highest score was 7.6; Lowest score was 0 (@na-smetisti)

A song about the Katy Perry feud that honestly feels like decades ago at this point. Looking back, what strikes me about this song is how... vague and generic the lyrics are. I mean, I unashamedly bop, but if Taylor hadn’t all but named Katy as the subject, I’m pretty sure no one would have ever known. We rated the album version here, but I think the Kendrick version probably would score a little bit higher, mostly because the verses are marginally more interesting.

Highlighted comments:

@everfolk​: “the kendrick version slaps tho”

@tobesolonely​: “this song hits at a solid ten when you're mad though”

@leadinmeon​: “look it's poppin but it's also boring”

158. Change (4.778)

Highest score was 7.5; Lowest score was 1

Honestly, I think this is one of the songs that will benefit best from a rerecording. Because as much as I love Taylor, this is... not the best showcase of her vocals. Imagine if she included that 15 second long high note that I used to see all over my timeline on swiftie twt back in 2013. Now that would be a moment.

Highlighted comments:

@corneliaavenue​: “her worst album closer”

157. Two Is Better Than One (4.797)

Highest score was 10; Lowest score was 1

This is a collab with Boys Like Girls, a band I know absolutely nothing about. I've only listened to this once, when I was doing my own ranking, and I could not tell you how it goes, but I think it bopped at least a little bit? If any OG Swifties have an insight on this collab, particularly how and why it happened, I would find that very interesting!

Highlighted comments:

@tobesolonely​: “i asked taylor to perform this on the rep tour and she looked at me like i was crazy” (she should’ve listened to you smh)

@itspeterlosingwendy​: “boys like girls was such a big part of middle school, this duet hit hard then”

@yourivysgrows: “I had war flashbacks remembering this existed”

156. Invisible (4.825)

Highest score was 9; Lowest score was 1

I have literally nothing interesting to say about this. It’s not awful, but I think it’s a concept that Taylor has done better numerous other times. I think I enjoyed it when I was like 12 years old and had a minor crush on a guy in my class I had never spoken to? I would rather not think about my 12 year old self, so let’s just leave it at that.

Highlighted comments:

@leadinmeon​: “this song is so terrible i have no idea why people like it”

@yourivysgrows: “7 year old me BOPPED to this”

155. Today Was A Fairytale (4.909)

Highest score was 8; Lowest score was 0 (@everfolk)

Am I a fake Swiftie if I've never watched Valentine's Day? I've watched a compilation of Taylor's scenes on YouTube, and that was more than enough for me. This song was probably the best thing to come out of that movie for me, and even then I hardly ever listen to it. It’s sweet, though.

Highlighted comments:

@everfolk​: “I cannot for the life of me listen to this song in full”

@onceintwentylifetimes​: “It's cute but she's done it all before and better”

@yourivysgrows: “That movie javajajaj”

154. I Forgot That You Existed (5.000)

Highest score was 7.5; Lowest score was 2

The way that the final score for this song is a perfectly average 5... almost poetic in a sense. It isn't love, it isn't hate, it's just indifference indeed. I think this song being an album opener makes me dislike it more than I otherwise would, it’s just so underwhelming in that role. Also, someone (either a sessioner or someone pretending to be a sessioner) hyped it up as being a “pop State of Grace” and I’m still bitter about that.

Highlighted comments:

@liabilitys​: “the closest she gets to acknowledging calcium hydroxide and i love that for her”

@corneliaavenue​: “I forget this song exists”

153. A Place in This World (5.059)

Highest score was 7.5; Lowest score was 2

This really hit hard for my teenage self, but it’s been a while since I really felt like it connected. It’s a nice song, and a nice sentiment, but the lyricism is ultimately a bit simplistic and the song doesn’t really have as much depth as we’ve come to expect from Taylor’s best work.

Highlighted comments:

@yourivysgrows: “Was actually a favorite as a kid but I've outgrown it”

152. Both of Us (5.066)

Highest score was 9; Lowest score was 1

I know we just talked about Two Is Better Than One and the fact that I know literally nothing about Boys Like Girls, but for me this is the most enigmatic Taylor collab. How and why did it happen? What commonalities drove BoB and Taylor to work together? Did they discuss the Flat Earth theory? So many questions, so few answers. Also while I actually think this is a very lovely song, it's produced by Dr Luke and BoB is an antisemetic conspiracy nut so we have no choice but to not stan!

Highlighted comments:

@onceintwentylifetimes​: “Taylor's chorus is nice and the rest of this song is fine but I never really want to listen to it”

@yourivysgrows: “Not bad, not my favorite”

151. End Game (ft. Ed Sheeran & Future) (5.078)

Highest score was 8; Lowest score was 1

As an End Game apologist, I’m disappointed... but not surprised. This was actually my least favourite song on reputation when it first released, but over time it snuck up on me and I can appreciate it for the bop that it is! Can we at least agree that Taylor’s verse slaps? I mean, it has the ever so brilliant “I bury hatchets but I keep maps of where I put ‘em” and I wholeheartedly believe that “I can’t let you go / Your handprints on my soul / It’s like your eyes are liquor / It’s like your body is gold” is one of her greatest lyrics ever.

Highlighted comments:

@treacherousdemo​: “will end game not being in the bottom three be upsetting to some? perhaps”

@corneliaavenue: “this song is good, you guys just hate ed sheeran” (and that’s the tea!)

@tobesolonely: “ed sheeran rapping :/” 

#results

[ritchieblackless]

[Ranking Of Cozy music eras]

Well, as many of you know, Cozy did A LOT of things with many musicians and playing different styles. He appeared on at least 66 albums and counting another session work, some hidden works (Like Supertision and Ballroom Blitz) in total is nearly 90 things that he did! (that's why it took me so long, I had to listen to all again) but always one era will be better than other so... at the request of @thespiritofvexation (and I wanted to because is a excellent idea) here are the ranking of Cozy music eras.

Note: I'll try to be objective about this but also you'll get my opinion.

9. Whitesnake.

(As you can notice, Cozy's solo album is there. I put it because is in same era. I did this with all Cozy's solo albums 'cause the poor boy didn't have the time to make a proper solo career... he didn't like that very much anyway.)

Well first thing I'll highlight about this work... is the fact that his drumming is plain, so plain... for being Cozy Powell. You know, Blues rhythm, one bass drum and tomb with a little bit of cymbal... plain. But it's alright because the album needed that type of drumming (Not pun intended of course) I'm just saying that his drumming is so plain because the songs (Blues/Hard Rock) needed that, otherwise, it would have sounded a bit Rainbow-ish. Remember that Cozy was so versatile. He had a strong style but if the song needed the opposite of his style, he was going to do it.

Whitesnake era for me is not his best but LIVE. He on stage was another story. He was amazing.

Songs with Cozy's signature: Hungry For Love.

A side from Whitesnake we have his solo album which is one of his best works. Octopuss was a successful album. We have his mix between classical music and his drumming which is mind blowing. Hard Rock tracks like The Rattler, Formula One (Good one, Cozy) and Princetown and one ballad (Because he liked... a true sweetheart.) Dartmoore.

8. Michael Schenker Group.

His work here is what I like to call "Angry Drumming"

He didn't get along with Michael Schenker so they were fighting everytime. So all he did in this only album with MSG he did it angry... that's why is so good. He was "in mourning" trying to get over Rainbow so he had no better idea that making his drumming sound Rainbow-ish (I can relate) taking advantage of the situation that MSG was a heavy rock band. Not Rainbow, but still. There are a lot of Cozy's fills and Cozy's arrangements on the songs too more than Whitesnake.

Songs with Cozy’s signature: Attack Of The Mad Axeman, But I Want More and Feeling Like A Good Thing (Live). 

Now, a side from MSG we have his second solo album. Tilt have jazz-fusion songs like Cat Moves. A  rock tracks too like The Blister and Hot Rock. And with some funky thing like The Right Side with another ballad (Because he is a sweetheart) Sunset. Tilt was an anti-commercial album with a nice success. Also, the album have two “Dark” songs which are Living In A Lie and Jekyll Hyde (Inspired of course in Mr.Jekyll and Mr.Hyde... Cozy’s favourite book... such a nerdy.)

7. Brian May Band.

We know how important Cozy was for Brian May’s solo career and Brian himself... (But I’ll not going to talk about this now, because I’m focused only on his drumming.)

Basically Brian told him “Be yourself, I don’t need a type of drumming” So that is what you listen when you listen those three albums... a free, happy Cozy. So powerful as always and creative. Of course Cozy had to be powerful because he was trying to cheer Brian up (He is so sweet). Believe me when I say that this is his best work in his last days! Its amazing the heavy-hand that he still had. For moments you think that you are listening Rainbow by the power of his drumming and the songs are completely stunning. 

Songs with Cozy’s signature: Cyborg, The Guv’nor, Resurrection, Rollin’ Over.

Now, his solo album. The Drums Are Back was not a successful album with bad reviews saying that Cozy was recycling himself. I personally don’t think Cozy was recycling himself, I just think that he had his own way to do songs and make albums.In spite the bad critics and no success, the album was top ten in Japan.. HA! The Drums Are Back have really groovy songs like The Drums Are Back, Legend Of The Glass Mountain (He really never got over Rainbow..). Rock songs like The Rocket and Ride To Win. And three ballads (Because he is a sweet-... well you get it) Battle Hymn, Cryin’ and Somewhere In Time.

6. Peter Green Splinter Group. 

This album is a proof of Cozy’s versatility and still young drumming. 

He and Peter Green got along really well so their chemistry was reflected in the music and live performances (Unfortunately a very few with Cozy) Yeah, the whole album is basically blues, okay? But the thing is that Cozy, no matter how slow the blues was, he would let you know that was him playing the drums.And I need to say that: HE PLAYED BLACK MAGIC WOMAN WONDERFULLY... (just that, back to the point). 

Peter didn't tell him how to play drums in Fleetwooc Mac’s songs, Cozy just did it and he did it fantastic. Also, his drumming sounded so young, so strong and with presence. Its mind blowing really because you don’t expect Cozy at the age of 50 playing strongly but he actually did. He did his drum roll thing with just one bass drum, he was still so noisy as always (I’m so sorry just this era puts me soft)  

Songs with Cozy’s signature:Homework, Going Down. 

And his solo-... oh... right... *Runs to bathroom to cry*

5. 80s Work.

 Well, time to time (For not saying always) Cozy liked to participate in his friends’s albums when he had a little free time with the band that he was in at the time. I did this 80s work section here because I cant believe that amount of things that he did while he was playing in other bands (I mean, u r for real?)...I put the most popular ones but out there are a lot of unknown Cozy works in the 80s with several bands. I just felt that his 80s works deserved a position in the ranking. This is another proof of his versatility but, with a little of his style of course. 

Songs with Cozy’s signature: Tender Babes by Jon Lord, Night Games by Graham Bonnet, Slow Dancer by Rober Plant, Believe by Tom Galley (Phenomena) Shakey Ground by Bernie Marsden, Running from The Storm by Gary Moore and well.. ETC (and many many etcs)

4. Black Sabbath

This is when Cozy turns his “Beast Mode” on.

I don’t know why, maybe because he knew what Black Sabbath was (Tony: Join my emo band.... Cozy: okay) and what it needed..? because that is his normal drumming..? (I'm sure that is his normal drumming.) But he literally blows your mind in every- fucking *wheezes* song. The three Black Sabbath albums are filled with unexpected Cozy's fills (No matter how many times you've listened to those albums, he is unexpected.) His beat is very heavy and very exact too. He was a fan of Bill Ward so I'll be not surprised if he tried to get that heaviness! (I mean, Cozy has his own heaviness but what I'm saying is that maybe Cozy wanted to make a proper Black Sabbath sound) 

Songs with Cozy’s signature: Headless Cross, The Call Of The Wild. Basically all TYR and talk about Forbidden is forbidden... (I’m joking. Is a good album too)

3.Jeff Beck/ RAK 

Well, for start I put them together because when Jeff Beck Group disbanded, the following year he signed a contract with Micky Most and RAK. So, he was a secessionist, a well-known secessionist. He was in the circle for someone who needed a powerful-jazzy style. It’s like the 80s works really (omg Cozy get a grip). He was a really demanded drummer, everyone wanted him and he eventually worked with everyone. He had a very well-known beat by that time, you easily can tell was Cozy but he also had to be more open to the different styles that he was asked to play (Basically he can’t play like him all the time). He also had some discredited stuff, like Ballroom Blitz by The Sweet (It’s so obvious) and Superstition by Steve Wonder (I know, I know that it says Stevie played everything BUT NOT IN THIS CASE DON’T BELIEVE HIM. What you hear in the song is Cozy playing.) and more like some Suzi Quatro’s songs.

Songs with Cozy’s signature: Ballroom Blitz, Superstition, Cosmic Wheels, Band Of The Salvation Army Band by Tony Ashton and Jon Lord.

Now his solo stuff: Here comes his baby, his household, his precious treasure, his (okay you get it) Dance With The Devil single. It’s a friendly instrumental which they did for a laugh but it became seriously successful... (Yes, they didn’t mean to do it but they did) Micky Most ask to Cozy if he wanted to be a single and Cozy said yes thinking that it was not going to be a big deal but *BUM* 1 Million of copies sold (Literally Cozy stayed at home two days laying looking at the ceiling because he can’t believe it) Of course they did the Dance with the devil part 2 which is Man In Black but it didn't work as well as the first one.They did Cozy Powell’s Hammer but it was kinda a fail too although the band had several tour dates. 

This is when Cozy met his lost brother (okay no) This is when Cozy tried his best to play good jazz but instead came up this.. jazz fusion-rock-weird thing. So the thing here was: Jeff didn't know how to explain Cozy what the wanted him to play and Cozy was getting mad about it (Jeff: You can do ta.. tatada tss, ts ts ta da ta... Cozy: Honestly Jeff wtf?) so he did what he thought was better for the record and Ta-Da! Rough And Ready was born. Cozy’s drumming is a bit lighter and he uses a lot the cymbals for a swing-jazz rhythm.  

Songs with Cozy’s signature: Going Down, Ice Cream Cakes, Situation, Short Business.

2. Rainbow.

(Omg Martina are you fcking crazy????) Yes I didn’t put Rainbow in the first place...A new hope for Cozy (This sounds like Star Wars movie or something)

Okay, this is one of his best eras because he was all recovered of his disappointment in music business in 1975. He literally gave up with music (poor babe) until Ritchie called him (Ritchie: Join my emo band... Cozy: okay) . He was ready and decided to show that he wasn't a poor drummer... and he did.He played all his tricks, he was so unpredictable and powerful. He actually was lead drummer (I’m not sure if that exists) He didn't played with the bass like a normal rhythm section, he played with Ritchie. Cozy live with Rainbow was so unbelievable, like the unexpected fill in Catch The Rainbow, Man On The Silver Mountain... To be honest, the first Rainbow album sounds so plain without Cozy, it’s like.. something is missing (Basically Cozy changed the band). His beat is so heavy, strong and incredible.Also his 1812 Overture which is just mind blowing. He was a happy Cozy in Rainbow, that’s why he played so brilliantly (and he was Ritchie’s goal friend... what is better than that?) Cozy did an amazing job in Rainbow... (No words...)

Songs with Cozy’s signature: Stargazer, Run with the Wolf, Mistreated (Live), Lost In Hollywood, Eyes Of The World, Gates Of Babylon, Light In The Black, All Night Long and.. all.(Literally all)

Now, his first solo work: Basically he had nostalgia for Hammer and the press still had bad relationship with Cozy saying things like “He is just Dance With The Devil and nothing more” so Cozy want to make an album so fantastic to shut them up. He called to his friends and all was ready... but they needed a bassist so Cozy took his chance and asked Jack Bruce if he can play in his album (Cozy was such a Cream/Jack fanboy.. he was almost his male crush lol.) Fortunately for Cozy, Jack said yes and they recorded it. The album had a fantastic success, extremely high success. The album had fantastic songs like Theme One (Courtesy of George Martin), The Killer, El Sid, Heidi Goes To Town and one sweet ballad (Sweetheart) The Loner (Dedicated to Jeff Beck... That is actually very cute). 

1. ELPowell

(ARE YOU JOKING?????) No, i’m not joking and i’ll tell you why. Also this is when Cozy became a prog nerd. 

The only one reason that I chose ELPowell as best Cozy music era instead of Rainbow... it’s because he stepped out of his Comfort Zone. This is the REAL proof of Cozy’s versatility. He did amazing things in Rainbow yes but in the end was rock and roll... This is different, this is progressive rock (I don’t really care about Progressive people’s discussion about 80s progressive rock... I’m talking only about Cozy) and Cozy didn’t know a THING about progressive and he still did it amazing. Of course, he took what Carl did and he simplified it to carry it to what he can do... and he did it very well. He had to learn all the ELP’s songs studying them (That’s when he accidentally listened to all elp discography and some Genesis, Yes and well... he became a nerd) He started to experiment with new percussion instruments that Carl used before.. (Like those bells that you hit them with a little hammer... no? okay) He became a KONG BOY too. He literally learned a whole new drumming style but of course with his Cozy sound. Tarkus played by Cozy is amazing, and when he is doing the Congas in From The Beginning kills me every time (That tank tee and those muscles...) and those drum solos...(Damn) they are really something else. And this is the same case of Rainbow.. he was recovering from his disappointment in Whitesnake so he was so enthusiastic about playing with Keith and Greg.  

Songs with Cozy’s signature: Touch and Go, The Score, Mars the Bringer of War. 

THIS IS THE END... GOD this took me an eternity and I explained so much i’m so sorry this is not going to happen again. This is the first and the last time that I’ll make a large post! (For my own mental health) This is so large, I didn’t mean to, sorry! Nobody will read it to the end but I don’t care... and if you do thanks very much this costed me two nights <3 (And sorry if there are any grammar errors) 

#goooooood #martina get a grip #large post #i did this? for real? #ill die #cozy powell #look what i have to do for you you bastard #i love cozy #Black Sabbath #whitesnake #rainbow #rainbow band #jeff beck group #jeff beck #michael schenker group #elpowell definitely is the best time for cozy #ELPowell #gary moore #and im so tired to tag more

[surveys-at-your-service]

Survey #322

“you will hear it when your god cries  /  you will see it when the sun dies  /  upon the altars of change”

What is your favorite nickname that you’ve had? "Bee," from my old best friend. I don't want others calling me it, though. Where did you go on the best date you’ve been on? A big arcade. It was a super fun double-date. Have you ever gotten a professional massage? No, and I don't want one. It'd be so awkward. What’s your favorite milkshake flavor? Chocolate. What act would you be most likely to perform in a talent show? I got nothin'. If you had braces, do you wear your retainers still? I don't. If you had braces, have your teeth moved since you got them off? Yep, because of the whole "not wearing my retainer" thing. Whose was the first baby shower you remember attending, and for what baby? I'm unsure. Possibly my sister's for her first daughter. Do you know anyone personally who’s lost a child? Many people. When was the last time you did something that felt like rebellion? So every now and again, I get a massive craving for soda at night, so I grab one from the kitchen and can hear my sleeping mother rightfully nagging me about it, haha... What is one present you got for your last birthday? Ashley got me this really cool skull bank that says "tattoo fund" on it, aha. I love it. What is one thing that you took to show and tell as a kid? I have a clear memory of bringing a Snorlax plushie one day. Do you remember losing your first tooth? Not my first, no. Are you afraid to pop a balloon? Not really, but it's kinda easy to make me jump just a lil bit when one is popped. When was the last time you laughed when you shouldn’t have? I don't know. Which was better: the first The Lion King or the second? That is fucking HARD. I adore both, but I think the original is slightly better. Do any of your grandparents have a tattoo? I'm pretty sure none of them did. Do you believe that your pets feel love towards you? My cat, definitely. As for my snake, I'm aware that snakes' brains simply aren't developed enough for love, but she clearly trusts me. Are you proud of your body? Fuck no. I'm humiliated by it every waking moment. Watermelon or cherries? I don't like either, but if I had to pick, watermelon. Favourite brand of cookies? I don't really have a favorite brand. Have you ever stuck gum under a desk/chair? No, that shit grosses me out. When shopping at a grocery store, do you return your cart or just leave it? Return your goddamn cart. What is one thing you’d never want your parents to find out? Uhhhh. I guess places I've "done it." When you were little, did you like Dr. Suess books? I did. Do you like eating out at restaurants? Yeah; at least, before Covid. What was your least favorite year of your life so far? Fuck 2016 into the next millenium. Do you like fried bologna? I haven't had it in so long that I don't really remember the taste. I think I would. Have you spent money on a game online? Yeah, very briefly with WoW. Mom was nice enough to refresh my subscription after the breakup (Jason paid for it prior), but from then on, I was rich enough in-game to use monthly game tokens to "pay." Do you put a line through your "7"s? Yes. What about your "Z"s? Also yes. Do you like cold pizza? Yeah, yummy. Do you like broccoli and cheese? Yessss. Toaster or toaster oven? We've always used a toaster oven. What are you most known for? Being artsy, I guess. Do you have any reputations? What are they? *shrug* What was the last thing to leave you speechless? No clue. What is the curviest part of your body? Well, I'm overweight, so it's difficult to tell where I'm naturally curvy... but I guess my hips. Even when I was at a perfectly healthy weight though, I don't think I was exceptionally curvy anywhere. What is your opinion on sex change? You are entirely deserving to feel comfortable in your own body. If you’re still a virgin, how important is your virginity to you? I'm not, though I thought I was when we were together, when we were really just using a loophole. It was a denial thing BECAUSE my virginity was so important to me. If you have lost it already, do you regret it? No. Would you take a break after graduating from high school (like, postpone going to college for a year or so)? I didn't. What regret keeps coming back to haunt you daily? Things I said to Jason. If you could cure yourself of one allergy, what would it be? Pollen. Would you ever post a picture of yourself crying on social media? No. Have you ever held a newborn baby? Yeah, my most recent niece I actually held. I don't THINK I held Aubree or Ryder as newborns because I was so afraid of not doing it right and hurting them. Do you know anyone who has twins? Yeah. Are you following in the career path of any family members? No. What is your favorite country in Europe? Germany. How many times have your comments been top comments on YouTube? A few times. I rarely ever comment, but if I do, it's because I feel like I really have something worth saying. Would you ever wear a wig? I'm not opposed to it. Do you like the moon or sun more? The moon. Do you like turkey or ham more? Ham. Have you ever slapped someone’s butt? Yes. Do you think dimples are ugly? I think they're cute, actually. Have you ever deleted Facebook friends for a significant other? No. Have you ever spent the night in jail? No. Do you consider yourself a good kisser? I assume I am from experiences. Do you watch Pewdiepie? Not anymore, no. His current content doesn't interest me. The most recent thing I watched was his playthrough of The Last of Us 2, because I adore the first game and definitely wanted to see him play the sequel. I think he's pretty funny and have no personal issues against him, though then again I am so uninvolved in the fandom that I have no idea if he's done something stupid again. Do you like "Despacito?" Haha, my mind went to The Dark Den's bearded dragon before the song... I'm not a fan of it, no. Did you ever color your hair pink? No, but I absolutely want to dye it pastel pink one day. :( I even edited a picture of me "testing" different hair colors out, and pastel pink looked suuuuper pretty. Do you drink energy drinks? No, they're too strong for my taste. Do you have any subscribers on YouTube? I don't now how many I have, but I know it's below 100. Do you have a Steam account? Yeah. Have you ever played Five Nights at Freddy’s? No, but I enjoy the franchise. I'm not totally clear on all the lore, though. Do you like religion? Quite honestly, no. Do you swear in front of children? No. What is the next craft you are going to make? There's no telling. I don't really do crafts. What was your favorite Backstreet Boys song? Maybe "The Call." Favorite *N Sync song? I don't remember enough of them, at least not right now. Which of those two bands did you like best? The BSB, baby. Do you learn choreography easily? When I danced, I'd say I learned at a fairly average pace. What’s your favorite candy to receive on Halloween? Reeseeeeeee's. <3 Do you have a bobblehead? No. Have you ever had a lead role in a play? No. Have you ever been insulted or called names by a significant other? No. I wouldn't tolerate that shit. What’s your favorite movie battle scene? Oh man, idk. Maybe something from Troy, though I honestly barely even remember the movie by now, haha. Have you ever been to a same-sex wedding? No, actually. Who takes care of your pet(s) when you’re out of town? Hypothetically, one of my sisters would come to feed and water Roman and clean his box. I'm certain I couldn't talk either into spraying Venus' cage, though... What was the last thing you wrote down on paper? Some group work during therapy. Did you have a Walkman when you were a kid? No. What’s your favorite recipe you’ve come up with? Oh dear, I don't make those. Do you like celery? Yuck, no. By what age could you swallow pills? I dunno. A normal age. Do you like to drink alot of water? I need to drink more. :/ I've gotten better, though. For years, I literally never drank water. How I even survived, idk. How many times have you gone fishing? Countless times. Ever been to a roller-skating rink? Yeah. I loved having bday parties there as a lil'un. What do you refer to your mother as? (Mom, momma, mommy) Mom, Ma, and Mama. Have you ever swam in the ocean? Yeah, multiple times. What is the last movie that made you cry? I think the remake of The Lion King. What would you like to swim in other than water? Nothing? If you could uninvent one thing what would you chose? Damn, just one? Maybe cigarettes? Have you ever read someone's diary? Absolutely not. I respect people's privacy. Have you ever played in a waterfall? No, but that'd be dope. Who has inspired you the most in your life? Probably Mark. Is there a place where everyone who lives near you tends to hang out? Idk. Teens sure do love to hang out at Sonic, though, reving their stupid fucking trucks. Does your alarm clock wake you with music, or with an annoying buzz sound? Music. Did you make it all the way through the Oregon Trail game? Yes; I was obsessed with those as a kid. Lions and tigers and bears, oh my! Which one are you more scared of? I feel like being alone with a tiger would scare me most. Though let's be real, I'd probably try to pet it. Have you ever changed your favorite color? From what to what? It was originally red, but then became pink when I actually understood it was its own color. Then it was maroon forever, and now it's back to pink. On a scale of 1-10, how competitive are you? Eh, 4-6? It depends on the situation, I guess. At what age did your have your most memorable birthday? My 21st, because I was in the psych hospital for it. Yes or no: Guys in skinny jeans? Yeah, man. Yes or no: Girls with dreads? Some people can pull it off. Have you ever attended a themed b-day party? What was the theme? Oh yeah, plenty. Do you have any Eminem on your iPod/MP3 player? I do. Has anybody ever given you a promise ring? No. What do you think about putting ‘spinners’ on cars? So long as they're not too distracting, I don't care. Do what you want with your car - again, so long as it is not disruptive. What celebrity do you wish would have a big comeback? I wish poor Britney Spears could catch a goddamn break and be happy again. She's a legend that doesn't deserve to feel like a puppet. Were you outdoors or indoors more as a kid? I'd say there was a pretty even split. Do you or have you ever owned a horse? No, but I LOVE horses. Have you ever had a relationship that began via text? (weird, I know, but it happens…) Most of my relationships started through a text message. Did you believe in unicorns as a small child? I don’t think so. Would you ever date a guy with longer hair than yourself? Yeah; I have short hair anyway, and I also like long hair on guys. Do you watch the show Wizards of Waverly Place? I used to love that show. Have you ever been to the rainforest? No; humidity aside though, that would be so amazing. Bats are not spooky or are they? I think they're precious. Do you like the song "Womanizer?" I sure do, actually. Do you like ice cream cake? Not really, but I'll eat it. Do you know how to change a tire? Nope. What kind of headphones do you have? Just cheap earplugs. Do you experiment a lot with new looks on yourself? No. What were some fun experiments you did in science class as a kid? Dissecting a frog was my favorite, and doing the same with an owl pellet was also very cool. What was the last strong emotion you felt? Guilt. I lied to get out of group therapy early because I was just NOT feeling it whatsoever that day, and I hate lying. Do you use dry shampoo between washes? No. Have you ever lived with someone you didn’t get along with? No. What types of animals have you had as pets? Jeez, what haven't we had... We've had cats, dogs, snakes, rats, gerbils, a rabbit, hamsters, lizards, fish, guinea pigs... Hell, I'm probably forgetting one or two. Can you name three good things about your most recent ex? She's so creative, a real advocate for proper reptile education and appreciation, and very kind. Name three bands/artists that you hate. Uhhh The Talking Heads, Bob Dylan, and The Police. What’s the best memory you have of your father? Playing softball with him in the front yard, and when he taught me to ride a bike. Should tattoos be meaningful? You get a tattoo for whatever reason you damn well want. I don't plan on all of mine to be meaningful. Some stuff I just want because I think it's cool. Are you afraid of the dark? No. Have you ever been through a trap door? No. What's the most recent good news you’ve heard? Hm. Who was the last person in your family to have a baby? My older sister. When’s the last time you used the microwave? Last night. What’s the worst thing in your life right now? Financial struggles. Have you ever owned a tire swing? No. Does anyone you know own a bird that can talk? No. Have you ever been someplace tropical? Yeah, Florida. Have Jehovah'ss witnessess ever called to your door? Yep. when was the last time you went to mass/church? I have no idea. It's been many years. Have you ever experienced sleep paralysis? Thank heavens no.

#survey #surveys #questions #lyrics: ''altaer" by 3teeth

[melonsmessymusings]

Hey! So i know that you prefer the earlier seasons of Buffy, specifically 2 and 3, which is also when Oz was around. Outside of their relationships to Willow (I'm not asking who you ship more), between Oz and Tara, which character do you like better?

Hey there, what an interesting question. 

Let me try and break this down because I prefer Tara, and I want to explain why. This is gonna be a long one so grab a cuppa and get comfy...

While I enjoy the earlier seasons more, Oz is a very different character to Tara. His vibe is totally different. He’s just a chill, dude. I felt that he meshed in with the Scoobies for the most part but it felt a little forced. He was such a different kind of guy to the rest of the Scoobies, who let’s face it are kinda the social rejects but are perfectly happy in their own little bubble. He didn’t fit that bill and that’s when I felt the writers went, ‘well, let’s make him a werewolf because then he’s all supernatural and can hang with the Slayer’. He’s a guitarist in a semi-successful High School band, in the late 90s... it just felt a bit ‘oh okay’. Maybe it’s just me. Not that I dislike Oz at all, I fuckin love him. Plus, he made Xander look like a moron too which is good points in my book. Also, his one liners are unparalleled. 

Oz was such a well liked character that when he left, they had to create a replacement that would have an equal impact on the show and thus Tara came into being. Honestly, she was the only character that could’ve even remotely replaced that void after Oz left. 

However, I would have to say that Tara is my favourite and she deserved much more screen time than she got and to not be brutally and needlessly killed off. I don’t really know where to begin but her relationship with the Scoobies as individuals aside from Willow, is just wonderful and it’s one of the best aspects of her character IMO. I know it took ages for that to happen, but by god is it worth it when it finally did Let’s start there:

In S6, she is there for Buffy to cry on (literally) and just... lets her do what she needs to... Without judgement. NONE of the other characters would EVER let her do that (except perhaps arguably Giles but he wasn’t around because fuck him). She seemed to recognise trauma better than anyone and I don’t know, I just love that. 

Can we take a second to appreciate her parental nurturing of Dawn? From the get go in S5, Tara has a soft spot for Dawn despite the fact I really despise the girl. When she makes time to go and have milkshakes with Dawn even though Willow and her have split... I cry when I think about it. And when she spends the WHOLE night with Dawn so that she’s not alone... She always seems to be the one babysitting Dawn, and I reckon she did it willingly and I just love her so much. 

Tara calling Giles “Mr Giles” for like a season... that’s adorable. I have a lovely little personal headcanon that he literally kept reminding her that she can call him whatever she wants, he doesn’t care and she’s like ‘okay Mr Giles’. She encourages him to do stuff as well. Like when they’re talking about the advert in the Yellow Pages (or whatever it was) she’s proud and tries to focus on the positives. Or how she hoped he’d feel better soon from his hangover. Just stuff like that. You fuckin know that the two of them were thick as thieves and it’s adorable. 

She’s even nice about Spike. Especially in S6 when everyone is kinda against him. She knows that he’s trying to help (I use the term loosely) and wants to aid him if possible. They 100% bonded over the summer that Buffy was dead. 

Tara starts off like many people that age as having self-esteem below the fuckin ground. She feels like a waste of space and honestly... same. But despite this, she goes out of her way for people she cares about. All of the Scoobies/regulars are damaged or whatever and I think Amber Benson’s performance lets us, the audience really feel that. Even from the offset when I had no idea who Tara was, she was interesting. 

Personally, I believe that when Tara first met Willow, it wasn’t love at first sight and that Tara was pursuing Willow in a totally platonic way at that point and a romantic relationship blossomed from there. I’m not explaining this well, but what I mean is that she was the one who sought after Willow in the first place and I kinda love that. 

Obviously, Tara has faults but because the amount of screen time she got was criminal, there wasn’t much time to explore these. Yes, some argue she was selfish (personally I disagree but I can see why people think that) and that her stammer was infuriating. Yeah it was, but so was Xander in general so ya know... Yes, you could argue that her relationship with Willow was a bit wet, it was but that’s what they were going for so that’s not her fault as a character. 

Regarding her relationship with Willow, they had more in common (e.g. witchcraft) and they vibed better IMO. I just love it and am struggling to explain it. In S6, honestly I think she shouldn’t have gone back to her because it was painfully obvious that Willow was still abusing Magic but love is a funny thing.

For me, Tara was a better all around character than Oz and I thoroughly enjoyed watching her until she was killed. Then I was just pissed... 

Sorry, that probably made less than no sense but I kinda just kept going, but I hope it answered your question. I can think of more reasons but this is already ridiculously long and I’ve been up for about forty hours straight so coherence… I don’t know such a creature. :)

#btvs #buffy the vampire slayer #daniel oz osbourne #tara maclay #buffy summers #willow rosenberg #xander harris #rupert giles #spike #ask #really long post

[tiesandtea]

An interview with Brett and Mat about Night Thoughts for Musikknyheter.no, 19 January 2016. Photo & interview by Alyssa Nilsen.

On her website, you can also read her behind-the-scenes blog post about this interview.

(x)

I’m putting the full interview under the cut.

Suede's new album "Night Thoughts" is out Friday

The band will play the album in full and screen the accompanying film at their Oslo gig, We spoke to Brett Anderson and Mat Osman about the concept behind it all.

90s heroes Suede are back, and once again enjoying success with their music. Their previous album Bloodsports, which was released two years ago, did well both in and outside England. Their new album, Night Thoughts, will be released this coming Friday, and along with it, we get a film shot by photographer Roger Sargent. A while ago, Suede did a press-launch of the film in Oslo, and we met with vocalist Brett Anderson and bassist Mat Osman in a suite at posh hotel The Thief. The previous evening had seen an exclusive screening of the new Night Thoughts film, followed by a Q&A with the boys. The film is Sargent's own interpretation of the music on the album, and has not at all been controlled by the band. Mat says they saw some clips of the film along the way, but that they didn't interfere with the result at all, since it was meant to be an interpretation by someone not involved in the actual recording process. The result has become a beautiful, epic and slightly dark interpretation of the album Night Thoughts, and is a piece of art that carries the weight of the dramatic music very well. The film will be screened during the band's gigs, including the Sentrum Scene gig on February 2nd. People who won't have the opportunity to see any of the gigs will, according to Mat, still get the chance to see the film. The album will be released in two versions, and one of them will include a bonus DVD of the film. Still, he adds, the album won't need the film to work, it's meant as a companion piece - a different way of experiencing the album: «90% will never see any of the film, but it still made more sense to us to have this - a piece of art - rather than having three middling videos that you can switch off after three minutes. And at the same time, it fits the concept of having an album you can listen to in one go, from start to finish.»

The album format is a concept Suede have focused on a lot during their work on this record. They have intentionally made an album that works as a unity, rather than creating singles and strong stand-alone songs. Brett says the reason behind this is simply that they love the album format and being able to engage a listener for 45 minutes. He was obsessed with albums as a kid, and the idea of listening to a vinyl, and to turn the record after page 1 to listen to page 2, is something that still fascinates him: «Writing lots of songs and then juggling them to find out how they fit together to make the unity you want; to choose the opening song on page 2 to present that, even if that only applies to those listening to vinyls; which track ends the album... All classical albums I've loved have given the impression that the artist truly cared about those details and was aware of how the album would be listened to. And this is what we wanted to achieve with Night Thoughts.» Mat nods: «This is indeed something you've been pretty obsessed with.» The album is quite seamless and gapless with songs intertwining into each other, and Brett explains that when they wrote it, initially they had a lot of half-songs that worked sort of like bridges pieces, like Pale Snow or Learning To Be: «It was kind of like: "Pale Snow is in the same key as I Don't Know How To Reach You, so it can be a prelude to that song..." A lot of the sound design and how the album is threaded together, that was all arranged afterwards. Parts of the album was attempted recorded as one piece in a studio in Belgium, but that idea got a bit diluted when we realised where we were headed with the album.» He adds that it's not exactly a revolutionary concept - even though it might feel that way in our day and age. That, in itself, he says, is something he loves: Being different. To not just be a slave to fashion or do what everyone else does. He's convinced that there's still an "army" of people who are fans of the concept of albums. The title "Night Thoughts" is about the fear you feel in the middle of the night when you can't sleep because you feel like your world is caving in around you, when thoughts become too big and you feel too small. The record is about family relations and the confusing ambiguity within those relations - something which is very apparent in the accompanying film. Brett, who does most of the lyrics, has based it all on his own experiences of family, but does not feel like it's uncomfortable or scary to share these things with the world. Talking about it face to face on the other hand, THAT he feels can sometimes get uncomfortable and awkward, much better to write about it in a song and defuse it that way. In addition to that, he feels like the songs are just as ambiguous as life and relationships are, and will ultimately mean different things to different people. I Don't Know How To Reach You, is initialy about Bretts relationship with his dad, but could easily have been a break-up song about lost love; the same feeling, only in a different context. He adds that he feels it was a very interesting way to look at relationships, since rock songs normally are about romantic relationships, not family relations.

The band's upcoming concerts, including the Sentrum Scene-gig in Oslo, will be two-part gigs. The first half will be Night Thought played in full, whereas the second half will be hits and fan favourites. To add to this, the band will be performing the album from behind a curtain where the film will be shown. Brett is very excited at the prospect of performing without actually being seen, and feels it necessary for the format to work. If the screen had been behind them, they would have had to confront the audience in a traditional way, and it would have been way too ordinary. The fact that they're separated from the crowd, allows him to be a singer rather than a performer. Mat explains that they spent a long time figuring out how to make the album work live, even before they'd come up with the idea of the film, because it's so slow and thoughtful. The fact that it's performed from behind a screen forces the audience to listen to the music rather than being occupied watching the guys onstage. The first gigs they performed the album live, it was very interesting seeing the crowd's reaction: «When it all started people rushed to the front, and then the film started and they realised that upfront really wasn't the place to be, so they all wandered back», he laughs. The feedback the bands has received after the gig also suggests that the audience experienced the music in a completely different way than they normally would. Brett nods and adds that the fact that they've put the film in the forefront at the gigs, seems to simultaneously have perversely put the music in the forefront: «It seems to work. Surprisingly.» Night Thoughts comes out on the January 22nd, Suede plays Sentrum Scene on February 2nd.

#brett anderson #suede #night thoughts #mat osman

[natromanxoff]

Mercury Roadrunner's Interview about Freddie Mercury with Peter Freestone – Part I

Thanks very much to Mercury Roadrunner (Pavel Strashnyy) for letting me share his amazing interviews! Originally shared here. Check the tag "MR interview with Phoebe" to see the other parts.

Here are the 5 topics of this interview, beginning of each topic is written in bold:

1. Live Aid

2. The Works tour

3. "Mr. Bad Guy" album and recording period

4. "Heaven For Everyone", Freddie's habits about listening to music, opinions on Madonna, Montserrat

5. Swimming and memories about Los Angeles, Ibiza, Japan

Mercury Roadrunner: Good evening, ladies and gentlemen. We welcome you to the unofficial Russian Queen fan club special program. You can find our website at www.vk.com/queenrocks. I am knownn as Mercury Roadrunner. This year marks the 50th anniversary of Queen. And I’m very happy to say that this evening we have a very, very special guest here with us, and it is an opera critic, a book lover, biographer and writer, and close friend, confident and personal assistant of Freddie Mercury, Mr Peter Freestone. Hello, Peter. How are you? Peter Freestone: Hi. I am… okay. I’m good, I’m good. What can I say? I’m good. PS: You are good and you are very happy to join the other Queen fans who would be very happy to hear you finally talking. And the first topic is about your personal memories. It’s a historic date but what are your own personal memories of 13th of July, the Live Aid day, what were your feelings in general on that day? PF: For me, I suppose, it was just another show… [laughs] PS: Really? PF: Because I worked for Freddie and he was going to do a show. I didn’t separate that from all the other performers that were going to be there, that made it such an incredible day. And not only in London, when they were also performing in America as well at the same time. When the satellite was showing something from London, then it showed something from Philadelphia, then back to London again. So to say, for me it was… another day. It wasn’t even as though there were such a big show because we’d played stadiums in South America. So, it wasn’t the size of the audience. I suppose, when it really struck me what was happening was when the band went onto stage. And the roar from the crowd was absolutely amazing. Again, it wasn’t so different from normal shows because they’d actually rehearsed for their twenty minutes. You know, there was four days’ rehearsal. So to say, it was normal, it was normal work, it was a short show. But then, thing is, it was in daylight and Freddie could actually see the audience. And from the back of the stage, we could look through holes in the back, you know, the screen in the back. And we could see what the band could see. And… then it sort of struck me that, actually, this is something very special. And then I was really so very, very proud of them. At the end of their set, when, again, the audience reaction was indescribable. What they had done in those twenty minutes, they had picked up the whole audience, shook it around and put them back down again. PS: Indeed. PF: So, yeah, that was what I felt. PS: And do you remember some of Freddie’s jokes, maybe, during the day, the way he interacted with other superstars, like David Bowie or others? PF: The thing is, he [Freddie] was just one person amongst his peers, you know. All of the bands were names, they were bands. And the thing I have found, and this goes all the way – the real professionals are the most normal, approachable people on earth. It’s the wannabes who have the attitude of “Don’t you know who I am?” and who behave like stars, because stars behave like human beings. Real stars, they can be just like the rest of us. There was a time when Freddie just wanted to be on his own, you know, with just his friends, with his group of people. But I mean, there’s a few photographs of him chatting with various people, like Elton John and David Bowie. I remember seeing them with him, and Adam Ant. And, of course, he had friends along; I think Wayne Sleep was there as well. In his life, he [Freddie] needed people around him that made him laugh. And so, he still had that. David Bowie and he had been friends for so long. Elton [and he] had been friends for even longer. So, it was actually a chance for them to sit and catch up rather than, you know, being in front of the world press. They liked to spend time on their own, you know, talking to each other, really talking, not putting on a show. PS: So, I imagine that backstage on that day Freddie felt pretty much joyful and relaxed, right? PF: Yeah, on the day of the show, I never really saw Freddie nervous…

because, the thing is, it was too late by then [to be nervous]. You know, there was no point in being nervous anymore because the show was going to go on whether you were nervous or not. So, why be nervous? Just, you know, get on and do the show, enjoy yourself. PS: And do you remember, where did the idea of Freddie and Roger joining the Band Aid on stage in the final song, “Do They Know It’s Christmas”, came from? Or was it totally a spontaneous idea for them to join the others? PF: I think the idea at that point was that anybody who was around, who would stay on to the end – because don’t forget the show had started in the afternoon, so not everybody was going to be waiting – but then anybody who was left, who wanted to join, could go and join. There was no strict “You must do this, you have to do this, you have to be there”. It’s “If you want to, by all means come and do it.” PS: And we even have a picture of both of you, Freddie and you, on that day when Freddie wears a white shirt for “Is This The World That We Created”, and you stand right next to him and it’s a beautiful picture. PF: And Queen were the only band that actually kept their dressing room. Because all the other bands had to vacate their dressing room half an hour after they’d performed, so that the next band could come and use it. But because Brian and Freddie were performing “Is This The World That We Created” at the end, they got to keep their dressing room from the time they arrived. [laughs] PS: So they spent the rest of the day after the show in their dressing room? PF: Well, in or around their dressing room, yes. PS: They, like, had their Royal Queen place there. PF: That’s it. Anybody else had to go into the Hard Rock Café. There had to be a tent, you know, hospitality tent there. And most people ended up in there because they were not allowed into their dressing rooms, they didn’t have dressing rooms after that. So… that also helped Freddie relax. [laughs] PS: Like, his little bit of his own, right? PF: Yes. PS: All right. So, the second topic is about you, Peter. And you are credited as a “band party” member on The Works tour. Can you please clarify what a band party meaning is? Because I am assuming it’s like an entourage but it will be nice to hear the expanded definition from you. PF: Yeah, the band party, I think, was about ten or twelve people. It was the band members, their assistants – me, Chris Taylor was there, and Paul Prenter was there. If Jim Beach was on the tour at the time, he would have been part of the band party too. And some of the time Gerry Stickells was there. But often he would be ahead, making sure that everything was ready for when the band arrived. But that was it. There was about ten people. And there were baggage tags for each member of the band party. That’s why I know because I had Number 9, I think. And there were about twelve, I think, altogether, because at one point at the beginning I used to have to collect the band party baggage, so that’s why I always knew which were, even though I wouldn’t know whose bag was what. It would have one of these crew tags on it, so I just picked up and I knew that there were going to be twenty bags, so I just picked the twenty bags. But they were easy to identify because of these tags. PS: I see. And what is your own favourite memory about The Works tour and about this time, like, 1984, 1985? Maybe the Rio shows? PF: Yeah, I mean Rio was… amazing. The feeling from that crowd… you know, something like 350,000 people. Oh, you can’t beat that. And when you’re flying in a helicopter over that crowd, it was stunning. But the thing is, I know this sounds really, really stupid but [laughs]… one thing I will always, always remember from that tour was, remember, in the back of the stage you had these wheels that turned every now and then, not constantly but just every now and then. That was because there was… the guy looking after Roger’s drums and me who actually turned those wheels. And there was no set cue or anything that, “Oh, it has to start on this bar, on this song.” No, it

was when he wasn’t doing anything and I wasn’t doing anything, we’d say “Ok, let’s go and do it.” And we turned the wheels for a couple of minutes and then left them alone. He had then to do something for Roger and I would just sit there like I always did. And then you’d go back and you’d turn the wheels, like a hamster. We were like hamsters… So, that’s my memory of The Works tour. PS: And how technically did you operate those wheels? How was it possible? PF: With your hands. You just grabbed hold, you know, because it was like cogs on a wheel, and you just grabbed hold of them. Because we would be behind, I mean, I was always on John Deacon’s side, so I was hidden behind his bass setup. And you just pulled on the cogs because the whole wheel was on a metal axle and you just held there and you just pulled it down. PS: And the wheels actually were the real wheels, the big ones, right? PF: The very big ones in the back that moved, yeah. And they were made of, I think, polystyrene and plywood. So they weren’t very heavy. PS: So it was, like, actually you taking a part in the show, like, directing this? PF: Yes, I mean, you know, this is how things used to work in the old days before half of you were born. [laughs] You had to use your hands. I don’t think that a Queen tour as it is now is manual anymore. Everything is “push buttons” in it. PS: Yes, so it was indeed like the works, you had to work to make it work, right? PF: Yes, but nobody knew that’s how it works. They just saw these wheels turning every now and then. PS: It’s like a kind of magic indeed… PF: Yes, this was the whole thing with the Queen show – that people saw things happening but didn’t try and think “Oh, how do they do that?” If I see a big show now, I just think “How do they do that?” You’re not listening to the music anymore, you’re thinking “How do they get this to move? How do they get that?” But in the old days, you never did that, you just saw it move and it was part of the show. PS: You were just enjoying it, you didn’t have the time to analyse it. PF: Yeah. PS: I see. That’s a great memory, Peter. So, the third topic is about Freddie’s solo album, “Mr. Bad Guy” Freddie firstly wanted to name his solo album Made In Heaven and he even mentions that title in an interview with David Wigg. Why did he later decide to call it Mr Bad Guy? PF: I think he felt that Mr Bad Guy represented him more than Made In Heaven. And the lyrics to that song, everything. It sort of was very much about him. I think that’s why it changed. I actually love that song because it is real orchestra on it. And I was in the studio. I mean, it’s not a massive studio, so what they had to do, they had to record each section, so the strings section was there and recorded all their parts. And they went out. And woodwind recorded all their parts. Then brass recorded their parts. Then timpani came in and recorded. You know, they could not do everything together, so it was actually really quite complicated. But the end result, I think, is great. It reminds me very, very much of “The Carnival of the Animals”, the old classical piece. That was written by Camille Saint-Saëns. But that is what I’m immediately reminded of when I listen to “Mr Bad Guy”, you know. [starts to hum the song] You know, all the different pieces of the orchestra doing it, repeating it. Now, that for me is my favourite part. PS: I also enjoy it, I adore it. It’s truly a work of art from Freddie. PF: Yes, definitely, definitely. And I agree with him because it does represent him, multifaceted. You know, you never expect… He never gives you something that you expect. He always gives you something that will surprise you. PS: Yes. And why bad guy, why do you think Mr Bad Guy? Why bad? PF: Because… anytime in the press, there was never anything saying what a lovely man he is. So why not live up to his reputation? PS: Yes, it’s like “Yes, I’m everybody’s Mr Bad Guy,” yes. PF: Yes, this is it. This is what people want to believe, so this is what I will be. PS: Yes. And why do you think his first title was exactly not some

other track title but exactly “Made In Heaven”? Why was his first idea about exactly this song, to call the album this way? PF: I don’t know, I really cannot answer that one for you. I don’t know why he thought of that. Maybe he thought that would be the most popular track. A very popular track. PS: Yeah, it’s a hit song, totally remindful, yeah. And what was Freddie mostly like during the recording? What’s your favourite memory of him in this period? PF: That’s a lot more difficult because it was a difficult time. Munich. It took him far too long to create it. In the end, he was more interested in going out and spending time with Barbara Valentin than he was in creating work. I mean, the amount of time… he would turn up in the studio at two o’clock. Because he always turned up at two o’clock. It was pointless staying or coming at ten because he wouldn’t. And the thing is, it’s a singer’s voice, he’s not really ready to use [it] until later on in the afternoon. Once he’s warmed up properly and everything else. But the thing is, by four o’clock the phone would be ringing and Barbara was bored, so Freddie would run over and go out with her. So it was hard. And sometimes it felt like he was forcing himself to enjoy himself. Because he also felt bad, because he knew he should have been working, but he was letting his arm be twisted very, very, very easily. Yeah, I mean, okay, yes, he did enjoy himself when he was with Barbara, but he also had in the back of his mind that he was supposed to be working. PS: But the final result, I think, is totally great, he’s so much presented there. PF: It wasn’t the commercial success that people were expecting, but I think Freddie was happy with it in the end. PS: Yeah, it’s, like, his self-portrait songs. PF: Yeah, yeah, yeah. It got that music out of his system so that when he was back with Queen he was thinking more of the band stuff than, you know, things that the band would be happy with and just him happy with. Also, the thing is, Freddie did miss the rest of the band. He would never admit it but if you listen to some of the instrumentals on some of his solo tracks you could imagine Brian playing the guitar, you could imagine John playing the bass. You know, he missed having the band around him. PS: I see, I see. Even though it was his only first experience as his solo work, he already missed the other boys. PF: Yeah, yeah, yeah. Because the thing is, all his recording before Mr. Bad Guy had always been with other people around. You know, even when he was producing the Peter Straker album, he had friends around him doing things. This was him on his own and it was all on his shoulders. PS: Yeah, and he worked on this album perfectly, it’s absolutely a masterpiece, yeah. So, the fourth topic is about Freddie’s and Roger’s connection. There is a story that Freddie heard Roger’s song “Heaven For Everyone” and he liked it so much that he wanted to sing it, and in the end The Cross, Roger Taylor’s band, released a version with Freddie’s vocals on it. And do you remember, had Freddie ever listened to Roger’s solo albums at home? PF: Freddie didn’t really listen to very much of anybody’s music at home. The only thing I remember... well, okay, yes, I remember putting on videos of Prince. But, musically, we would put on, we would buy every one that came out. It was a series of CD’s and albums, of course, before the CD’s, Now That’s What I Call Music. And what it would be, would be the sort of top hits of two months or something. And they would all be on Now That’s What I Call Music 1, then Now That’s What I Call Music 2. I think it’s on to Now That’s What I Call Music 373 at the moment. I don’t know. That was the music that he would put on, it was the music of the time. Because, you know, for his own music, for Queen music, that was work for him. And what concerns Freddie listening to Roger’s albums - probably what it would’ve been he would’ve listened to it when he and Roger met up. But it wouldn’t necessarily be at home they would put on the album. They would meet up and Roger would say,

“Oh, you must hear, listen to this, you have to hear this. This is something I’ve been working on,” you know, that sort of thing. PS: I see. And, you mentioned Freddie enjoying Prince, and it connects me with the fifth topic and it’s about the musician of the same age as Prince and it’s, like, a connection of Freddie Mercury from Queen and the Queen of Pop who is known as Madonna. What was Freddie’s attitude to Madonna? Because it’s almost impossible to imagine that he never ever mentioned her or never talked about her. PF: He admired her as… a woman surviving and winning in basically a man’s world. Yeah, because she was a power. And for that he admired her. Some of the music he quite liked. But there’s also the other side of the coin. Freddie, for all he was, had one security with him whenever he went out or everything. And Freddie felt that Madonna was actually attracting attention to herself rather than protecting herself. When she would go running in Hyde Park with ten security, you know, he said, “If she went with one person, people wouldn’t even notice her, but because she’s got ten people around her, then the whole world is going to notice. And you are best safe not like that but if you have just one person.” So, I mean, for that side he didn’t understand her thinking, but for her musical acumen and for her performance he thought she was fine, she was good. PS: And what is your personal attitude to Madonna? Do you like her? PF: Again, some of the things she’s done I think are very, very good. I don’t know, the more recent stuff I’m not so keen on. But all the first ten years or whatever of her stuff, I loved it. Yeah. Because, again, she never copied, she always did her own thing, and she never repeated herself. And I love originality. PS: And what is your own favourite memory about Freddie and Montserrat, Barcelona story in general? PF: I suppose it would have to be the actual recording of “Barcelona” because that was the first track that was completed. Freddie had sent Montserrat a tape giving her a guide vocal. Mike Moran had written out the music for her and sent it. So when she came in, when she arrived, she was fully, fully prepared for what was going to happen. But I remember being with Freddie after she’d done the first tape of her vocals for Barcelona, and… there were almost, almost, I mean, there were tears down his face. He was saying, “I now have the greatest voice in the world singing my music.” And that will always stay with me, always. PS: I see, so it was, like, very deep for him. And what is your favourite memory of Montserrat as a person? PF: Ah, a lot of memories. I went to pick her up at the airport, took her to the hotel, I would go and meet her at the hotel, go with her to the studio, all of that sort of things. And I was only in the studio when Montserrat was there. And when she was actually putting her vocal tracks down, the track was basically finished. I saw her so many times after the recording as well. You know, I went to see different performances of her. And it was because of her that I was actually at the Palais Garnier in Paris. You know, the opera house in Paris. Because she actually did an AIDS Gala there. And she invited me to go. I think… her laughter. It’s just like Freddie’s. Because whenever people ask me what’s my first memory, what is the memory that first comes to my mind of Freddie, and it’s always him laughing. And it’s the same with her. Whether she’s just finished a performance or actually when she’s doing a recital or a concert. And during her encores, she is always giggling and laughing. Amazing giggle. Because she likes to bring the audience in during the encores. And she’s got this infectious giggle. She invited me to the first night ever of her performing Isolde in “Tristan and Isolde” in Barcelona. And talking with her afterwards, I said, “You must know how wonderful it is for me to be coming here, to be seeing it, to be listening to you.” And she says, “Of course, you’re part of the family.” So, that really has always stuck with me. PS: So, the next topic for

today is Freddie spending time just making any kind of normal activities. And the question is firstly about his swimming skills – could Freddie actually swim, and if yes, did he enjoy it? PF: I never saw him swim. Never. I don’t know if he could swim. I’ve often thought about that and I never saw it. He didn’t… thinking about it, we went on a motor boat when we were at Pike’s hotel in Ibiza one time. And he didn’t look the most comfortable. So, I really don’t know if he could actually swim. I never saw him in a swimming pool or anything like that. Even when there was a swimming pool around, I never saw him in it. PS: But speaking of other activities, for example, you mentioned your staying at Pike’s hotel, he liked to play tennis there, right? PF: Yes. And, of course, when he was younger he was very good at table tennis. So, yeah, he enjoyed tennis. When we were living together with Freddie in Los Angeles, in that house, there was a tennis court as well and he played there a few times. PS: I see. And what are your other memories of Los Angeles? PF: Los Angeles. Also I remember in Los Angeles it was in L’Ermitage hotel when Queen were designing the Hot Space album cover there. They were there, maybe, even rehearsing for a tour or something. That’s the hotel I was staying in at that time. It was just this concrete glass and… stainless steel… and chrome. It was a very, very modern hotel. I remember, there were all band members, I was there, Chris Taylor was there, Paul Prenter was there. And they were throwing ideas around. And that’s where Freddie came up with the colours. “That’s the hot space, the space is the colours, hot colours.” PS: Ah, so it has something to do with image, with colour as you see it… PF: Yeah, yeah, yeah. PS: The hot like the bright one, right? A definitive one. PF: Yeah, yeah. PS: And he drew, like, a draught of the cover, right? Because he is credited as designer. PF: They were talking about which colours and then who would be which colour and then what they would put on each colour. You know, when they started talking about, not necessarily a profile but just picking out the aspects that people recognize from each artist, like Brian and his hair, Freddie and his moustache, you know, that sort of thing. PS: And so, each member chose the colour for himself by his own, right? PF: Yeah, yeah, yeah. PS: And how do you think, why Freddie chose the red colour? PF: Because it’s the colour that sticks out the most, although red was not his favourite colour, his favourite colour was yellow. But red is the one that you first look at. If you look at every sale, you know, big sale signs and everything, it’s always red on white. Because red is the colour you notice more. Apparently, whether it’s true or not, I don’t know, but in the old days police stopped more red cars than any other car. PS: Oh, really? PF: Yeah. Just psychologically red is the colour that stands out. PS: And Freddie being so outstanding wanted to strike everybody. PF: Yeah. PS: I see. And you mentioned Freddie and you spending time at Pike’s hotel. And what is also your personal favourite memory of this time. PF: I suppose the swimming pool was actually something nice. To actually think that we were in the swimming pool where Wham had recorded “Club Tropicana”. I mean, yeah, Pike’s. It was a nice hotel. They treated you well. They treated you personally, you know, they took care of you. And so it was a nice place. You really felt well-treated. PS: And what was, like, the top of the top on Freddie’s 41st birthday? What are your memories? PF: The most ridiculous thing is when guests went off into a corner and started smoking, so they weren’t smoking at the table and set light to the decorations. There were all these paper decorations hanging down the walls and everything. And people were there smoking and not looking at what they were doing, and they set light to them with their cigarettes. And then they started throwing alcohol to try and, you know, because it was wet they thought they would put the flames out. I mean, some people are not

very, very bright. [laughs] PS: I see. And what was your favourite memory of his previous one birthday, in 1986, the hat party? PF: Now, the hat party was a one-off, there was no other party quite like that, in Garden Lodge. Not with two hundred and something guests. Because the thing is, the thing that I loved about the fact was that nothing was put away. None of his vases or, you know, anything was put on tables. All the antiques and everything. Everything was left there. Because, okay, there were two hundred people but he actually knew them. He knew he could trust them. PS: And what was it like for him when he arrived back from his magnificent journey to Japan? PF: The thing is, it extended because he was then back home opening up all the packages that had arrived and the crates that had arrived. Because everything was sent over as soon as he bought it. So, the big room, the small room. Everything, all the rooms were full. And these, he had twelve of them. So, it was like Christmas. You know, a six-week Christmas. Because he was away enjoying himself and then opening up and putting it all around the house. PS: So, he was actually in Japan for six weeks, right? PF: No, no, he was in Japan, I think, for about three weeks. But then when he came back, he had three weeks of opening up and putting them all out. PS: So, he had a chance to enjoy his presents one more time, like, actually having them all. PF: Precisely, precisely. PS: So, it was, like, double joy – first to buy it and then to enjoy it at home. PF: Yes, yeah, yeah. PS: And mostly he bought antiques, right? PF: Yeah, I mean, he did actually buy some modern porcelain and things, but almost everything was antique. Almost everything. PS: I see. It was indeed a magic year for him. The Magic tour and the magic holiday… PF: Yeah, yeah, yeah. Definitely. PS: I see, I see. So, as we are ending our first part by now, I’m saying to you a very, very big thank you, Peter. It’s amazing to hear all these stories about Freddie. PF: It’s been a pleasure, it’s a pleasure. SPECIAL THANKS TO VALUREX FOR CONTRIBUTION AND ASSISTENCE TO BE CONTINUED

#MR interview with Phoebe #queen #queen band #freddie mercury

[john-taylor-daily]

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Want to feel really old? Oh, go on then. Duran Duran turn 40 this year: the band, that is, not the members. For them it’s worse: Simon Le Bon is 61, John and Roger Taylor, each 59, and Nick Rhodes, the baby, 57.

As you would expect of a pop group who always appeared happiest hanging off a yacht in ruffled Antony Price suits, accessorised with a supermodel and a cocktail, they intend to celebrate in style, coronavirus permitting. So the plan, announced this week, is that on July 12, exactly 40 years since their first gig at the Rum Runner in Birmingham, they will perform in Hyde Park, headlining a bill that includes Nile Rodgers & Chic and their pal Gwen Stefani. Four of the original five will be there: the guitarist Andy Taylor, 59, left the band in 1985 and, after rejoining in 2001, walked out again five years later. In the past, the guitarist Warren Cuccurullo has filled in; this time Graham Coxon from Blur will take his place.

Then in autumn Duran Duran are releasing a new album, their 15th, which they are halfway through making.

Growing up in the West Midlands, I was a Duranie; my first gig was theirs at the NEC in Birmingham. To give an idea of the level of devotion, I had house plants named after each of them. John, his initials “JT” written on the pot in nail varnish, was a begonia; Rhodes, a busy lizzie; Le Bon, a rubber plant; Roger and Andy Taylor were cacti. My memory, foggy on so much, still holds the name of Nick Rhodes’s cat at the time (Sebastian). The household appliance “JT” would choose to be? “A refrigerator, so I would stay cool.”

But despite previous opportunities, I’ve avoided them bar an awkward backstage handshake with Le Bon. In the meantime, they have notched up record sales of 100 million, had 21 Top 20 hits in the UK and, unlike many bands who came to fame in the 1980s, they produce different, exciting, if not always lauded albums, working with new producers and musicians. They’ve had top five albums in each of the four decades they’ve worked. Their last album, Paper Gods (2015), produced by Mark Ronson and Rodgers, was their most successful for 25 years.

Now 46 and with no desire to anthropomorphise greenery, I meet Rhodes, the keyboardist, and John Taylor, the bass player, once described as having the squarest jaw in rock. Rhodes suggests his “local”, Blakes hotel in Chelsea, near the home he shares with his Sicilian girlfriend, Nefer Suvio (he and Julie Anne Friedman divorced in 1992; they have one child together, Tatjana). Taylor, just in from Los Angeles, home to his second wife, Gela Nash, who runs the fashion label Juicy Couture, invites me to his flat in Pimlico. Le Bon, still happily married to the supermodel Yasmin Le Bon with three grown-up daughters, is busy in the studio and Roger Taylor, four children and with second wife Gisella Bernales, is otherwise occupied.

Rhodes, who joins me in the bar at Blakes, has the same peroxide mop and alabaster skin that were always his trademark. He wears black trousers by the English designer Neil Barrett and a Savile Row jacket dressed down with a rock T-shirt from the Los Angeles company Punk Masters.

Four days later, I arrive at Taylor’s flat in a garden square where he greets me at the door dressed in black jeans and T-shirt, with sculpted bed-hair. I’m reminded of the time my brother splashed Sun-In on his to emulate Taylor’s bleached New Romantic fringe.

It’s good to have them back. They started on the new album in September at Flood Studios in Willesden, northwest London, and, as well as Coxon, have been working with three producers: Giorgio Moroder, Ronson and the DJ Erol Alkan. “The whole place is filled with analogue synthesizers, so it’s just joy for me,” says Rhodes, who began life as Nicholas Bates but renamed himself after a make of electronic keyboard.

Rhodes met Moroder — the “godfather of electronica” and the man behind Donna Summer’s I Feel Love — through a mutual friend of his girlfriend. “We talked about music and what had happened to us,” Rhodes says. “He is as sharp as a razor, 79 going on 45.” They worked with Ronson, who has produced Amy Winehouse and Adele, in LA. “The first thing Mark always says is, ‘Let me hear the rest of it,’” Rhodes says with a laugh. “He is quite competitive.”

Taylor, who leads me into a room that’s more gentlemen’s club than rock-star pad with an open fire, armchairs, brown furniture and bad Victorian paintings, says the break of five years has refuelled them. “We have to starve ourselves of creativity long enough that when we do show up we have something to say,” he says. “[The studio sessions] are quite exhausting because we have been down this road. We can finish each other’s sentences and I guess, to some extent, we can do that musically as well. We are working with the same cast; it’s like a soap opera. That’s why collaborators become so important as you need to keep the spirit lively.”

Rhodes, who says the new album is more “handmade” and “guitary”, explains the working dynamics: “John and Roger’s rhythm section often drives a track. Simon, the lyricist, gives all the songs our identity; it’s his voice that tells you it’s Duran Duran. My part has more to do with sonic architecture.” That may be the most Nick Rhodes phrase yet.

We move on to Andy Taylor. “Forty years ago we had Andy in the band and he was a strong flavour and a northerner and brought a rigour,” says John Taylor. “Filling that vacuum has always been one of the major challenges of version two of the band; we did it with Warren Cuccurullo and with Graham on this record. But it’s not the same. Andy didn’t mind telling people what they were doing wrong.”

He pauses. “We had a reunion with Andy [in 2001] and that was enormously difficult, actually.” How so? “That’s a book really,” says Taylor, who has written about the saga, along with his struggle with drink and drugs, in his excellent 2012 memoir In the Pleasure Groove. “Or it’s a mini-series.”

“It was very uncomfortable for us,” Rhodes says of Andy leaving in 1985. “For sure, it had become stressful over the previous year — we were all burnt out from not having stopped for five years — but we didn’t see it coming at all.”

What are relations with Andy like now? “I don’t really have any,” says Rhodes. “I haven’t seen him for many years since he left the last time. I was not even slightly surprised when it did fall apart. I was relieved. As much as Andy is a great musician he is not an easy person to play with.”

I mention to Taylor that Andy has just announced his own UK dates in May, playing Duran songs. “Uh-ha,” he says. He didn’t know. Does he mind? “I don’t mind at all. All power to him,” says Taylor. “I would rather he be out playing.”

Taylor has the sanguine air of someone who has spent decades nuking his demons (he’s currently working on guilt; he had a Catholic mother). He has been sober for 26 years after an addiction which in part led to the break-up of his marriage to the TV presenter Amanda de Cadenet in 1997. Was it hard at first? “It was like turning round an ocean liner,” he says, his voice posh Brum with a California chaser. “I work a daily programme and that’s what keeps me sober. It’s not something that just happens; it takes a lot of attention.”

We move on to the themes of the new, as yet untitled, album. Le Bon lost his mother recently, so we can expect songs inspired by loss. Taylor says he took inspiration from “the challenges of long-term relationships . . . Take a song like Save a Prayer, which personally I think is one of the greatest ever songs in praise of the one-night stand,” he says. “It comes to the point where you can’t write something like that. It’s not age-appropriate; yet it is sexy. So how do you write from the perspective of someone who is trying to keep a long-term relationship together? That is the challenge of any late-age pop star. How do you make it chic, to use one of Nick’s favourite words.”

It is hard to forget how impossibly chic Duran were in the 1980s: from their beginnings in Birmingham (Nick and John, anyway), where they met when Rhodes was 10 and Taylor 12, to a world of famous friends, beautiful partners and exotic travel. Le Bon married Yasmin after seeing her in Vogue, Rhodes was with the shipping heiress Friedman and Taylor the teenage de Cadenet. Andy Warhol was a close friend of Rhodes.

While others were singing about the dark side of Thatcher’s Britain, they were . . . more opaque. “In the 1980s a lot of what we did was somewhat misunderstood because we were living in the same gloomy years with high unemployment and miners’ strikes and civil unrest as everybody else,” Rhodes says. “But our answer to it was we have to get away from this and make it a little brighter because it didn’t seem like a particularly promising future.” Don’t expect that coronavirus torch song any time soon.

Their association with Bond — they wrote the 1985 theme A View to a Kill — only added to the glamour. What do they make of the new one by Billie Eilish? Rhodes admits that he mostly listens to classical music these days but “was thrilled to hear Billie Eilish. I think it’s by far the best Bond song since ours.”

But not better than yours?

“I am very happy that she reached No 1.” Duran’s got to No 2.

Taylor is more critical. “I thought it was lacking in a bit of Billie Eilish to be honest. It could have been madder. It was a little bit too grown up,” he says.

Is it as good as A View to a Kill?

“No!” says Taylor, theatrically. “Although,” he admits, “it was the most difficult three mins that we have ever produced.”

It had a great video, in which the boys slunk around the Eiffel Tower. Taylor frowns. “I hate that video. So stupid. I can’t watch it.” One for the fans, then.

A secret of their longevity, Rhodes says, is not bowing to nostalgia. “I like to keep my blinkers on and look forward.” Having said that, he sounds ready to write his own memoir. “I would do a book yes,” he says. “I haven’t read John’s on purpose. I even wrote a foreword for it for the US version without reading it, but I did own up to it. I think mine would be very different from a lot of the rock biographies. The one that sticks with me is David Niven’s.”

Rhodes featured in Warhol’s diaries and Warhol, the subject of a show at Tate Modern in London that opened this week, would surely feature in his. He “invented the 20th century”, Rhodes says. “Andy was making reality TV in the Sixties. Can you imagine what he would have thought about the internet? It was all his dreams come true, but he would never have got any work done.” Rhodes says he stays off social media for that reason. “It’s not that I don’t like it; I fear it. I am going down a rabbit hole I may never get out of.

They’ve spent twice the time being famous as being unknown. Are they the same people they were in Birmingham 40 years ago?

Rhodes nods. “Yes, yes,” he says. “There have been big changes — marriages, divorces, kids, moving countries in John’s case — but when we are all together we have known each other for so long there is no room for anyone to behave in a way that would be unacceptable. There is no room for divas. We have lasted longer than most marriages; it is like being married to three people but we each get to go home on our own every night.”

Taylor tells me: “Without getting into recovery talk, a lot of that is about scrubbing away the masks that you tend to accrue to cope, so I think I am as close to that person as I was 40 years ago.”

Rhodes says tolerance is the key. “Sometimes when I arrive at the studio it is really bright, maybe someone is writing, and so everyone accepts I can’t cope, and so the lighting comes down.” I tell him I once read he always wears dark glasses before noon. He laughs. “Pretty much. That’s funny. I am hyper-sensitive to light. It’s not just pretentiousness. “

They appreciate they will have to prepare physically for the dates. For Rhodes, a terrible insomniac, that means “fruit and vegetables and grains” and lots of walking. But no workouts (“I am not a big fan of gymnasiums”). Taylor says he needs to start practising bass and the need to get back in shape is “keeping him awake at night”. “I like to run, I do Pilates, I do yoga and I think about everything that enters my mouth, everything. I am 90 per cent vegan. I don’t drink, take mind-altering chemicals. I am on and off sugar.”

Perhaps the greatest sign that they still have it is that their children want to see them play. Taylor just heard from his daughter, Atlanta, who lives in New York and is soon to be married to David Macklovitch from the Canadian band Chromeo.

“It’s a surprise when you get a text from a child and they say, ‘You’re playing Hyde Park — my boyfriend and I want to come.’”

#duran duran #DD40

[your-brilliant-lady-m]

South Korean music industry at a glance: an outsider perspective

I watched one particular AMV last week. The song used for the video was “I’m afraid” by Korean rock band DAY6. I was pleasantly surprised as someone who values lyrics in song first and foremost. The music itself was great. I’ll listen to their songs again. It’s a nice fit for my music taste. Naturally, YouTube’s algorithm decided that I’m a fan of everything Korean after 1 video and started spamming my recommendations with k-pop songs, documentaries and everything in-between. 

I watched a couple of videos, listened to some songs and discovered fascinating patterns. So, I went down to the comment section. And it was rather interesting experience, should I say? The concept of entertainment industry in South Korea simply begged to be explored more after this. I dug deeper and visited Tumblr k-pop tags and briefly glanced upon Instagram and Twitter. And, oh...

I am a big picture person and I enjoy both studying and creating systems. This one was particularly fun to explore. I discovered a lot of new things for myself. Perhaps, you can discover something new for yourself too or take a step back and look at this from a new angle. 

Disclaimer: it’s impossible not to offend someone on Tumblr, so keep that in mind. That being said, I do NOT intend to insult of offend anyone. It’s just a little research done for fun, because I love research with a purpose. This post is NOT A HATE post. No hate intended for fans, artists or other people involved. It’s meant to be a discussion, nothing more and nothing less. If it sounds like hate, it’s just my sarcastic sense of humour.

Content Warning: I mention suicide, death, depression, rape in a couple of sentences. There’s nothing major or graphic, but it’s there. 

In this long post I decided to share with you my opinion, a so-called outsider perspective, on the world of music entertainment industry in South Korea and people involved in it on different levels. I use the word “outsider” mainly because, that’s exactly what I am in this case, as someone who is in no way involved in k-pop community. I can’t name you a single band or their members. I don’t know any solo artist and can’t neither sing nor name you any song. 

And to be completely honest, I don’t think I will set my foot into k-pop fan-circles ever again after everything I saw. 

Think of this as “In this essay I will...” meme, except there’s an actual essay.

As far as I know, in South Korea “k-pop” refers to all music produced in SK, including solo artists, various bands, singers-songwriters. It doesn’t even have to be pop music. Koreans include in this definition all genres of music. However, around the world “k-pop” means primarily music made by idol groups and bands marketed for children, teenagers and younger people. In this post I use the latter definition, because that’s how most people understand “k-pop” in other countries. Therefore, my statements, opinions and conclusions here would concern only idol music. 

The music industry in South Korea is heavily influenced by culture and traditions of the country, just like all things are. And there’s nothing wrong with that. After all, different backgrounds are what makes people so interesting and unique. However, when combined with consumer mindset, desire to generate profit at any cost and fast-paced nature of modern life these neutral cultural elements could produce something concerning, and it can lead to disastrous consequences. 

1. Idol

These people are called artists, musicians, singers, bands, groups, performers. In South Korea and in Japan, however, people call them Idols or Stars. I’ve also seen Muses, Princes and Queens. Interesting, isn’t it? The terminology used to describe these musicians in South Korea is one of the key elements in this whole entertainment system. You’ll see why.

But who or what is an idol exactly? Let’s take a basic definition from Wikipedia.

“In the practice of religion, a cult image or devotional image is a human-made object that is venerated or worshipped for the deity, person, spirit or daemon ... that it embodies or represents. In several traditions, including the ancient religions of Egypt, Greece and Rome, and modern Hinduism, cult images in a temple may undergo a daily routine of being washed, dressed, and having food left for them. Processions outside the temple on special feast days are often a feature. Religious images cover a wider range of all types of images made with a religious purpose, subject, or connection. In many contexts "cult image" specifically means the most important image in a temple, kept in an inner space, as opposed to what may be many other images decorating the temple.

The term idol is often synonymous with worship cult image. In cultures where idolatry is not viewed negatively, the word idol is not generally seen as pejorative, such as in Indian English.”

Cambridge Dictionary defines idol as follows:

And here’s the definition from Oxford Dictionary: 

This is a centrepiece of this tapestry. Surely, you have noticed by now what these definitions have in common. 

Idol = a cult image of a god, a deity 

By calling these musicians “idols” industry makes society and audience treat them in certain way, namely as gods. What characteristics do gods possess? They are beautiful, talented, funny, confident and graceful, blessed by eternal youth of immortality. Gods have no flaws, they do not bleed, they are above human concerns. They are an embodiment of perfection. They are stars, you could not reach. 

But real people are not like that. They can be sad and angry, insecure. People don’t have perfectly symmetrical faces. They can’t dance in sync without preparation. They can’t sing like angels at any given moment throughout the day.

What happens when idols accidentally reveal their humanity? What happens when people see, that they make mistakes and do stupid things, that they need to train hard to appear graceful on stage? 

I will tell you. And it’s not pretty. But, first, let’s look at other elements of this system. 

2. Y/N and Self-insert fantasy

Aside from the music, K-pop sells the self-insert fantasy to the audience. It’s carefully arranged to appear real, where the cracks are masked and every word is scripted. The reality is so vivid that one doesn’t even have to use imagination all that much, because all scenarios and decorations already exist. Countless interviews for TV and magazines, fan meetings, talk shows, reality shows made sure people are privy to all juicy details of personal lives and opinions of musicians. And also one word - merchandise. Some of that merch made me question my life choices. Some of it is, ah, creepy or has weird vibes. All of this provides plenty of material for people to work with. Fans can effortlessly imagine themselves beside their idols or even in their place. 

In a highly competitive society, where people throw themselves into studying and work since young age, forming deep and lasting connections with others is very hard, sometimes impossible. As a result, people long to have a group of close friends with similar interests, a loving partner who would cherish them endlessly. People want to be rewarded for their backbreaking efforts to succeed by the carefree life of fame and music, everlasting friendships and love. And in a way you can’t really blame them for his. 

Does this dream life sound familiar? We are looking at K-pop bands here. It doesn’t really matter if their members don’t always get along or that they can live in debt, that fame is fickle and adoring fans can tear your self-confidence to shreds. Audience wants the glamour of fantasy and the industry is more than happy to cater to these desires. 

Perhaps, knowing that even for idols this fantasy is sometimes unattainable makes the whole set up feel just a little cruel. 

3. Fans, stans and fandom culture

We’ve already established earlier that idols are gods in the eyes of people and listed traits they must possess. So, what else do gods need to exist? Worshippers. Because a cult is worth nothing without its followers. Gods need a group of people to worship them and spread their beliefs. The role of worshippers is performed by a fans in this case. 

Apparently, there is a running joke that girl groups need to win a general public popularity and boy bands need a big passionate fandom. It seems to be true according to my observations. 

In k-pop fandom people use the word “stan” to state that they like or support particular group. Now, I am sure everyone here knows that in other fandoms, dedicated to movies, shows, books and games there’s an important distinction between being a “fan” and a “stan”. What is it? 

A fan is someone who likes a ship or character, creates and/or consumes fandom content, supports certain ideas, discusses things they enjoyed and disliked, criticises canon. Stans, however, are a different breed. They engage in all typical fandom activities, but their support and enjoyment becomes obsession. Stans believe their favourite characters and ships are immune to criticism, that they are superior no matter what others say. Stans start shipping wars, send anon hate, death threats over fictional characters and hurt real people. Stans are considered toxic fans. And majority of normal civilised people don’t like them and try their best to let stans hang out in their echo chamber by themselves. 

In other fandoms and communities, to be a fan means to love, support and enjoy something, while to stan means to obsess over and hyperfixate on these same things. Words “I stan” rarely mean “I support” for most people, and if they do mean that, it’s only used in a joking manner (”We stan procrastination legend!”, “I stan our miscommunication kings”).

Everywhere else “stan” has only negative connotations, except in k-pop. But what has changed? What’s the difference? Why do international fans scoff at “shipper stans” and then turn around calling themselves “stans of X k-pop group” at the same time? Does it make you wonder? 

And this is another core theme of k-pop, in my opinion. In fandom where stan = obsession = support, you can see interesting patterns. 

Fandom loves their flawless gods. But watching them from afar is not enough for some people, because unlike deities in different religions, these gods live among us. People are very much aware of that. Industry has created a cult and laid the groundwork for worshippers to express their adoration in every way including personal contact. And who wouldn’t want to meet their god? Who wouldn’t want to know more about them or tell them how much you love them? In talk shows and fan meetings there is only so much one can do after all.

People desire to know more, to have more so much that their obsession transforms into concerning stalker tendencies. These crazy individuals follow idols, stalk them on social media, in hotels, research flight numbers, bribe security. Musicians were attacked and poisoned. I strongly suspect there were cases of rape that no one knows about. There is even a special term for these fans - “sasaeng”. 

Is there a definition for stalkers of actors or musicians in western world? No, I’m pretty sure there isn’t. They are just called “invasive/obsessive fans” or “stalkers”.

Also, there are sasaeng memes. Yeah, you heard that right. I enjoy some classy dark humour as much as the next person, but there is a fine line between normal and questionable. 

Back to the topic of stalkers. Do you realise how disturbing that is? Such behaviour is so common that there is a term for it. You create a fandom-cult, encourage people to worship k-pop idols as gods and then act surprised when members of said cult become fanatics and their adoration becomes obsession.

And it’s so easy to step on this slippery road. The system makes it ridiculously easy. Lines begin to blur. How much is too much? Where do you draw the line? 

While sasaeng fans engage in extreme real-life obsession, people online aren’t that far off, to be honest. I’ve seen it all: imagines, headcanons, fanfiction, real-person shipping, reactions. Real person shipping is a controversial topic. Some people support it, others don’t. I suppose I’m among those who don’t get it. I’m not exactly against it, but I find it strange. Mainly because it’s based on assumptions made by fans about personalities and behaviour of real people. 

Assumptions. Dear me! K-pop fandom has this thing with video compilations. I’ve never seen this phenomenon being so widespread in any other community or fandom. Basically people edit together a collection of short clips from talk-shows, interviews, Instagram stories, some YouTube videos, etc and then proceed to analyse every gesture, word, facial expression of idols and provide both audio and on-screen commentary. These videos and many other forms of similar analysis allow people to imagine what kind of personalities idols have, what kind of life do they live. It’s the source material for fanfiction, imagines and headcanons. 

But it’s not real. It’ll never be real. It’s an illusion, an image, a stage persona. They fall in love with a face and made up personality. And I think that when people create this content they can forget this. Fans can develop certain emotional dependence and unhealthy attitudes in the long run. In some YouTube comments even supportive and encouraging words sound whiny and obsessive. And semantics of being a “stan” of certain group or individual doesn’t help. 

4. Industry, companies and liars 

At last we arrive at the most important aspect of music entertainment industry - its creators.

Have you seen “The Road to El Dorado”? It’s one of my all time favourites. It has iconic characters, adult jokes that I didn’t get as a child and iconic soundtrack. I’ll quote “It’s Tough To Be A God” a lot here. 

In South Korea music industry is a factory, the production line to be exact. This kind of set up affects everything in the grand scheme of things. Companies and agencies play the role of training centres and record labels. And there are so many of them that a whole new scamming system developed based around fake idol agencies. It implies that there are people who fall for offers of these agencies and continue to do so. I suspect that victims must pay a fortune upfront before they realise their mistake. Are there any kind of legal protection against such scams? How can people verify the authenticity? Because a well masked scam can exist for a long time before someone discovers it and calls them out on their nonsense. 

As far as I understand legal companies work like this. After high school, which is often focused on performing arts (and private schools can get away with using talents of students for personal gain, which is totally not surprising), young people can audition for an agency and become an idol in training or idol-trainee. And passing audition is hard. But good recommendations can help, connections too. 

During training you don’t get paid. Only a few companies pay aspiring musicians. People can spend years in training and don’t debut. But rent, necessities, clothing and food (not that you need much of it, but more on that later) cost a lot. Where do you get the money to live then? Support from parents, one or two part time jobs at most and bank loans. Surprise! We found an unexpected (just kidding, it’s very obvious) party, who reaps benefits from the system. 

You need skill to be an idol. Natural talent helps too. The more skills you have, the cheaper and faster your training is. To level up your game you attend classes every month offered by your agency, which are not cheap (dance classes range from 400$ to 1000$ per month, sometimes more). There are four main categories in evaluation process: vocals, rapping, dancing and visuals. Idols are multitaskers, to have a chance on stage one must be perfect at everything. And people are ready to invest thousands of dollars into their kids training so that they could have a chance in entertainment industry. South Korea thrives on revenue k-pop industry generates every day.

Let’s pause here for a second and think about what kind of people come to these agencies. The answer is easy. People who have a dream, a desire, a real goal. You don’t wake up one day and decide to become a k-pop idol. Sometimes people get invited by agencies (after prior acting, modelling career or any other form of exposure). These people are usually very young. Some start straight after high school, some after university, but 25 years old is considered a late start. Compare that to western musicians who start singing at any age and still become famous. 

But why this age limit? Because idols are eternally young. So that in public eye musicians are remembered as 20 year old gods. People would listen to their music and imagine a young attractive face. Career in k-pop is short, it lasts 5-7 years, rarely longer than that. It’s even less than modelling or acting can offer. And professional sportsmen retire in their late 30′s. Some play longer, but usually, that’s it.

If you live in Los Angeles and say that you want to be an actor or performer, no one would bat an eye. It’s like saying that you want to be an engineer or accountant. Similarly, in South Korea becoming an k-pop musician is a real career. Because part of the self insert fantasy that the industry sells is the idea that anyone can be an idol. It’s easy after all. Anyone can pass auditions and become a trainee. A trainee with no guarantee of debut. But one should never underestimate the power of idol-dream. After all, idea is the most resilient parasite.   

“My friends started training in kindergarten. They have wanted to become idols since young”

“A lot of young kids get interested in Korean music” 

A 6-year old child sees the performance of k-pop group for the first time on TV. Let’s say it’s a girl. She is enraptured and decides that she will be like that too someday. She grows up, while being part of the fandom, just like all idols are in one way or another and whose fan-obsession transforms into desire to succeed. Her parents spend time and money to find her tutors, to fund dancing and singing classes. Perhaps in high school this girl decides to fix the shape of her eyes and make nose straighter. She trains hard and passes the auditions in her dream agency. And during training this girl faces the reality of behind the scenes life in music industry.

“Why are you crying? I’m not even pushing you”

“How many times have I told you? The rest are doing it perfectly”

“She is dancing like an elementary school student“

“I watched your performance as a spectator who bought a ticket to your concert. I want a refund“

“You make my ears hurt. I don’t want to listen at all”

“Listening to you was tiring”

“I’ll kick you out instead. You won’t debut”

“I thought I was going to die. That’s how determined I was” 

While I do understand that keeping a high quality standards in media industry is important, there are more productive and healthy ways to motivate someone to improve and be more passionate, you know? Constantly insulting people with sadistic glee and putting them down at every opportunity or calling them ugly to their face doesn’t do much. 

Do you think that children know about this? Do they know about soulless teachers and belittling managers? Do they know about friends who are really your competition, so you shouldn’t get attached? Do they know about living in debt? Do they know any of this? No, I don’t think they do. 

Children dream about the stage, about the sea of lights and crowds who chant your names. They want adoring fans and photoshoots. They want to appear on TV and magazine covers. Teenagers want the thrill of performance, they want to share their music and dancing with others. 

“I don’t know how many times I cried alone”

The truth is cruel. But they won’t give up easily even if it means sleeping 4-5 hours and consuming no more than 500 calories per day. Because giving up means that your whole life was a lie. One can’t afford not to be good enough. Giving up means admitting that all efforts and money your family invested into your dream were in vain. It means losing face before your family and friends - a fate worse than death. Imagine living this idol dream and building your whole future around it and then being told that you’ll never debut because of the circumstances outside of your control or something minor, like face shape or 1 kg of weight that your body refuses to lose. It can break you. Especially if you are like 18 or something. 

5. “And who am I to bridle if I'm forced to be an idol If they say that I'm a God, that's what I am”

“I don’t think there’s anything a tough as being a trainee in Korea”

Once you are a trainee at the agency your personal life does not belong to you anymore. You can’t go out without permission of the agency. You phone is taken away. Your diet and weight are monitored. Bad habits are not allowed (no smoking, drinking or drugs). Oh! I think I found the good thing in the system! Unfortunately, it won’t last. Trainees can’t date or meet with family without permission of agency. Dating is very taboo. Even established idols can’t openly date. 

Why is that? Because gods can’t belong to anyone. Their lives are property of the fandom. Because openly dating idols destroy the self-insert fantasy. There was a former idol girl who dated another musician. She was called a whore by her fans, her loving and adoring stans. You might know who I am talking about. Would you call an American actor or singer a prostitute for dating someone?

Trainees sign the contract. And how can a young person straight out of school or university know much about what makes a good contract in entertainment industry or what makes a good contract in general? Even if you do understand the terms fully you would still sign it because if you have come so far, you can’t let your dream slip this easily. There isn’t a choice. Not really. If you want to debut, you will agree to anything.

What about life after debut? You have to pay off your loans. And company takes 60-70% of your group’s earnings. Artists themselves get 30-40% and split it between themselves. K-pop groups have from 5 to 10 members or more than that. Each person gets less than 6%. Idols are not filthy rich. They are not. These earnings are practically nothing compared to the work you have put into this. 

Idols are musicians, who often don’t even write their own songs, music or create choreography. But if public doesn’t like the song and musical number the company created, they blame idols for the failure. Such an amazing logic we see right here. But people say that sharing music is the best part of idol life. But whose music? 

Models on catwalk are not there to demonstrate their physical beauty, they are blank canvas for works of clothing designers. Same with k-pop musicians. They act like puppets in a way, whose faces and voices are used to show audience someone’s music and songs. Some groups do write their own music and lyrics and it’s nice to know that. But those, who don’t are rather unfortunate. It’s a nice tool of psychological control and pressure for an agency. They can hold it over group and use the following rhetoric: “We gave you everything! Why can’t you follow the simple instructions” or “Where would you be without us? It’s not even your music!”

I called k-pop industry a factory. That’s true. Dozens of people become trainees every year. These talented young people are fully prepared to do anything to achieve their goal. They are ready to practice until they collapse, starve themselves and pour themselves into every song. Companies know that. Tell me why would they value their idols as individuals, as people, as human beings if they always have a replacement? Why bother with mental health of their artists if next year they could have a fresh set of people, who are younger and prettier? Why try to improve relationships inside groups if you could fire any member and replace them within a month or two?

In western countries famous bands have different stories. Some were friends since high school, who played in bars and during festivals and then they were noticed by some representative of label company, who offered them a contract. Some groups were formed by like-minded people who bonded and decided to share their music with the world. There are many stories, but ultimately the have one thing in common. Bands in the West often form themselves. These people had time to bond, connect, discover each other, solve some disagreements and learn to work around their differences. 

K-pop groups are formed by their agencies. They are their property in a way. Company selects the best and puts together these total strangers, appoints the leader with marketable face and personality and then expects them to work together like a well-oiled machine. No one has time to bond during training, because other people are you competition, not friends. And then you must learn to work as a team and be best friends on camera for the audience to support the self-insert fantasy. It’s no wonder that k-pop groups don’t get along sometimes. And every member knows that they are replaceable. It doesn’t help in forming connections. Groups can’t just terminate contract and go to work with another agency. I heard it happens sometimes, but it’s not a done thing. Unlike in other countries where bands just sign the deal with a different label and release their music under their name if they don’t like the old conditions. 

“It's tough to be a God But if you get the people's nod Count your blessings, keep them sweet, that's our advice Be a symbol of perfection Be a legend, be a cult Take their praise, take a collection As the multitudes exalt Don a supernatural habit We'd be crazy not to grab it So sign up two new Gods for paradise”

But is it really a paradise?

Idols are expected to act cute, to match personalities created for them by fans or media. They have to act according to the concept of their group. They have to be a symbol of perfection: skinny, single and with a face perfected by surgery. They are allowed to mess up, but only in a cute way. They can break down and cry, but only if it’s “aesthetic”.

Weight issues are a separate topic. Sometimes I wonder whether managers in companies understand how weight loss or human body in general works. To be honest, I think that scales in agencies are rigged. And only managers know that. I know it can be done from personal experience. Some beach resorts tweak their scales and make them show 4-6 kg less than actual weight, so people wouldn’t get upset if they gain some. There is no way a girl as tall as I am (173 cm) could weigh like 47-50 kg and be able to perform complex choreography on stage and sing without being out of breath, visit the gym on a regular basis and generally function as a normal human without fainting every other day.

“I developed a lot of eating disorders”

“I think I consumed about 300 calories today“

“Someone, please, trim the fat off her arms”

If you grow up thinking of idols as gods and then, when you become one of them you think that you must act as one too. But being an easily replaceable god is a heavy burden. The industry, companies and audience want you to be perfect, to always be on your best behaviour. And the thought of not being good enough or divine enough terrifies you, because stans have no mercy (black ocean concept is the most stupid thing ever by the way). This kind of pressure can destroy even the most resilient. And it does. 

Almost everyone knows that situation with mental health in South Korea is not the best to put it lightly. In many ways it’s a cultural thing. But in k-pop mental health issues are treated with even less care. Gods are not supposed to be depressed or suicidal. They are not supposed to have fears or insecurities, can’t be upset or angry. They try hard to be this deity, this image. So, even when they realise they need professional help or even a friend to talk to, they either won’t seek said help or reach out only to be met with silence. Some agencies disapprove or forbid therapy altogether. 

Sometimes fandom becomes self-aware.

“Don’t forget that idols are people too!”

“Your favourite idols are running out of breath just to keep you entertained“

“They are humans, who have feelings!”

Oh, but here’s the thing, my friend. The industry doesn’t want you to think of them as people. Companies and media repeatedly reinforce the idea that they are not people, they are your idols. And strangely enough, the audience supports this idea. People continue to call them idols, developing worshiping tendencies in the process, imitate them, scrutinise their flaws and triumphs. Because, you know, only “real and ordinary humans” can have flaws, not “idols”.

So people who say “they are human too” and people who say “wow, this concert was amazing, but vocals in the beginning were so off-key, I simply can’t” are one and the same.

This thought process would have been funny if it wasn’t so disappointing. But that’s just my observation.

And here’s another thing about sexualisation. I said before how appearances are everything, marketable face and body could drastically improve your chances to succeed. Companies know about this too and concepts and aesthetics of groups are designed accordingly. Girls are dressed in skimpy outfits, their dances are unnecessary suggestive, they wear heavy make up and try to have “mature” vibes. Boys don’t avoid such objectification either: suits, tight pants and dress shirts along with make up and hairstyle to give audience a promise of the things to come. Grown adults are not supposed to lust after 15-17 year olds. You can’t just create a sexy stage persona for teenagers. Do you remember my earlier words about creepy merch? Yeah. All of it neatly plays into the self-insert fantasy and encourages obsessive behaviour. 

This happens in western countries too. In some way that’s understandable. Beautiful and sexy image with a hint of innocence attracts more people and sells, because it caters to one of the base human instincts. But some things make your skin crawl. 

Sponsorships are another topic. Some k-pop bands seek out sponsors to provide financial aid and cover expenses, when earnings are not enough. Sometimes these sponsorships are fine, perfectly civil. But sometimes it’s a prostitution. Girl groups receive money and provide sexual favours to their patrons. It’s a way for the group to gain financial support and even find new opportunities in the industry. Companies can encourage such deals. Let that sink in for a moment. 

6. “Any advice to those who want to become a k-pop idol?”

A lot of former idols and trainees have similar responses to this question. 

“I don’t want to discourage anyone, but think twice”

“You only see the glamorous side, but don’t see all the hard work that goes into it”

“It’s not what you think”

“They think ‘Since I am good looking and can sing and dance really well, maybe I should become an idol?’, but there is much more to it“

“They think it’s something that is easy and will keep their family set for life financially”

And this implies that most people don’t know what kind of lifestyle k-pop stars truly have, despite the amount of information available online about “behind the scenes” proceedings.

7. Moving on

I am a practical person and every decision I make is subjected to scrutiny. And after seeing everything I can't help but wonder whether idols believe it's truly worth it. What keeps the industry alive is the idol-dream, the wilful ignorance of its reality and youthful idealism, the beautiful naïve belief that it'll get better, even if it never does in the end.

Sure no one would ever admit it out loud, because it's one of those things you never say on camera, no matter how sincere you have to be. It's the matter of professionalism after all, and idols have it spades. And also, because admitting this would equal admitting that you spent your best years doing something you both loved and hated, admitting that this was a mistake.

When you grow up in a society where appearances matter the most, where saving face and being polite is more important than staying true to yourself, where individuality is tolerated only to a certain point, it takes a lot of courage to admit that you need a break. I greatly respect those who decided that idol lifestyle is not for them and moved on.

8. Conclusion

To sum up, I hope you enjoyed my small research and this perspective, since you have read it all the way to the end.  

You have noticed that entertainment industry is an intricate system and its every component makes sure nothing changes. Companies have power over idols and audience, fandom has power over idols and their careers, and musicians themselves have fame and their music, but not always the promised fortune or happiness. 

It’s important to understand the big picture to draw your own conclusions and encourage positive and heathy attitudes in fandoms. Being open minded and allowing people to make mistakes and live their lives the way they want to is a part of being a decent person. People don’t owe anything to others. Art is about sharing your thoughts and feelings, promoting ideas and spreading beauty. It’s not always about money. And I think that this is what k-pop lacks as an industry. It turned dreams and human need for self-expression into business. Here everything is turned into a product. Everything idols touch can be sold, sometimes literally. Industry created problems, which can’t be solved anymore, because doing so would topple the system. And I find it tragic. Trapped in an endless chase after perfection creators of k-pop forgot that beauty lies in the eye of the beholder. 

If you take a look at comment sections and posts on different platforms, what will you see? What kind of things resonate with audience? What makes people laugh and cry? When people start to appreciate the substance?

“Everyone needs to hear this song in their darkest moments”

“Thank you for your music!”

“They always deliver! These guys can’t make a bad song!”

“It inspired me to write again!”

“Their songs brought me and my sister together once again”

“This is what happens when you let groups write their own music - they make incredible things”

“They really are legends of k-pop! I love that they are not afraid to show their inner strength”

“Stay strong! You rock!”

I believe that the answer is quite simple: when it’s real, sincere. It’s all about the message you choose to send to your audience, because only superficial things cause obsession. When you say that the sparkly façade is all that matters, then that’s the only thing people will ever care about. Your audience will never give a damn about the meaning behind dancing, music or lyrics, if you tell them that performance is more important. No one would praise WHAT k-pop idols sing, instead they would prefer wasting breath to criticize HOW they sing or look or move. 

I dare the k-pop industry to prove people that it’s not just about looks or perfection, or laser shows, or being a branding machine. Prove to your fans that k-pop artists are also passionate people with big dreams and talent, who love every moment of their job, who live and inspire, who are human just like us and whose humanity is real!

Do it, you cowards!

And now, I’m finished. I can hear the raging crowd of k-pop fandom in the distance, which means it’s time to hide. See you some other time! 

#k-pop #korean music #k-rock #k-pop idol #k-pop meta #k-pop discussion #k-pop fandom criticism

[rozsapalota]

The Most Random Questions About Your Muse.

*Copy and paste. Do not reblog*

Name: Gábor Szilvás.

1. Do they believe in true love? Absolutely. His attention span is generally rather short and he will drift from one infatuation to another, however when he loves he always does so truly, and has never been dishonest about his feelings. He holds some terribly poetic ideas about love, any kind of love be it platonic or romantic; and if he feels it, if he really feels affection for someone, then that is all he needs to know it is true.

2. Do they believe that their life has meaning? In a personal and emotional sense, most definitely. Not in the grand scheme of things. He values the simplicity of there being no greater meaning, no real divine plan other than for this world to be here, and for us to have the means to experience it. He really doesn’t regard himself as important, and would be quite honestly overwhelmed if he were. Probably in line to some extent with Lestat’s Savage Garden ramblings.

3. What first impression do they give when they first meet someone? He looks and feels quite frail, gentle. Long-limbed, fresh-faced, a graceful and sensitive youth of alluring innocence and girlish beauty. Now more than ever he might appear a bit removed from time, perhaps due to his choice of clothing which often reflects his own era in one way or another. He is very well-mannered and soft-spoken, carries himself like a noble and most certainly gives the vibe of old money, silver spoon in his mouth.

4. Do they believe in Heaven/Hell? By default, yes, or at least he used to. For a long time now he’s been thinking that there might be nothing, and he doesn’t really know what to make of it. You tend to contemplate death a lot, when you’re a vampire.

5. FIVE things that irritate them:

   1 )  low quality materials    2 )  poorly translated poetry    3 )  rudeness    4 )  any form of animal cruelty    5 )  out of tune instruments

6. First Kiss? He used to have the cutest crush on one of his older sister's friends back when he was maybe 7, and it was painfully obvious to everyone who spent any amount of time around the two. He couldn’t look her in the eye for longer than a couple seconds, and so of course when they all played charades and later on truth or dare, he was immediately dared to give her a kiss. Fortunately she was endeared or else he wouldn’t have had the courage, and she came to cradle his face in her hands and give him a kiss herself.

7. What do they find funny that other’s usually don’t? Hungarian puns can be too hard to explain sometimes ( say “Nagy Árpi” quickly and repeatedly, and don’t ask why he’s struggling to hold his laughter ). Blame Lotti for having taught him that.

8. Biggest Regret? That he was so naive as to fully trust his sire. That he never thought or had the nerve to press for answers before the irreversible took place.

9. THREE words that best describe them:

   1 )  graceful    2 )  affectionate    3 )  gullible

10. Their most attractive feature. It would have to be either his eyes, or his hands. There is at times a truly disarming expressiveness to his gaze, those long lashes of his, the colour an uncertain middle ground between light hazel and green. The eyes really are a mirror to his soul.

11. The feature that they find most attractive? It’s still the eyes. They’re one of the first traits he notices and nothing works him up quite like intense eye-contact.

12. Favorite Song Lyric: He’s more into instrumentals honestly.

13. Best advice they’ve ever received: “Do not become so perverted that you would disobey your own nature. Therein lies the path to ruin.” ( you know who you are, mystery advisor. )

14. Worst advice they’ve ever received: Nothing deep or meaningful here, but he was once told that eggs would make a great ingredient for a homemade hair mask. And they are. Except he went to rinse with warm water and somehow it never occurred to him the egg would begin to cook as a consequence. Sometimes I swear there's only white noise in his head.

15. What makes them cry? It really doesn’t take a lot to make this boy cry. Try raising your voice at him and you’ll see what I mean, generally however he will get emotional over anything from films to poetry, music, sad pet adoption or life insurance commercials on TV.

16. Hardest decision they ever had to make? Permanently leaving his family home. He’d killed a stable boy the night after his birth to darkness, entirely without meaning to or really knowing what he was doing. A maid would soon share the same fate. He realised at once, of course, that staying was out of the question; but that never made the decision any easier.

17. What makes them fond of someone? Kindness, kindness has its way of ensnaring him without fail. Joie de vivre, rather like his dear Lotti, hearty and contagious laughter. Generosity, honesty. Just being nice to him or having a sense of humour. Believe me when I tell you it is very easy to get him to like you.

18. Do they believe in forgiveness? He most certainly does, though he struggles even now, to some extent, to really understand or forgive his maker.

19. Biggest TURN ON. A dominant partner, that’s what does it for him. He has a very strong preference for men in this department and likes nothing more than being courted, the spicy back-and-forth of flirting where you can sense an underlying intent. He likes to play coy after all, and baby if you’re charming and a little bit intimidating, he might as well do anything you ask him to.

20. Biggest TURN OFF. Bad manners, rudeness, callousness. Ostentatious vulgarity in general.

21. Any fetishes/kinks? Power imbalance probably tops the list. Being someone’s submissive, being told what to do. A bit of hair pulling / biting / manhandling when it gets intense, but nothing extreme. Orgasm denial / edging is another big one, and also lots and lots of praise. Otherwise he’s reasonably vanilla, except maybe for blood sharing on occasion?

22. Do they have a perception of God? Vaguely so. He was raised Christian, but he is one only at surface level. Nobody in his family was a devout believer and the existence of God was rather passively accepted as the conventional truth. He doesn’t question it, and yet religion has never plagued him or caused him any great turmoil, as it was not a very significant part of his life save for the obligatory Sunday masses. If he were to pick a label he would probably call himself something of a deist.

23. A memory from their childhood that shaped them. He was a very pampered child growing up, always complimented left and right for being pretty as his sisters, often mistaken for a girl himself. It’s a dreamy place of his past to revisit, and he’s still young for a vampire; the memories feel fresh to him, recent to his preternatural mind. He remembers well the evenings of those long gone times when the house was alive and full of music, his mother putting on her pearl earrings before the mirror of her bedroom wall. He remembers leaning against the wooden balcony railing when he wanted to trace constellations, long before they’d ever left for Budapest. He remembers hearing the wolves there, and feeling safe where he stood.

24. Birthday and zodiac sign: October 1st, he’s a Libra.

25. Do they agree with said zodiac sign? He thinks zodiacs are a lot of fun and does relate to many of the traits associated with his sign, but he refuses to believe that he is superficial. :(

26. What is ONE thing that they wish they could change about themselves? He’s pretty comfortable in his skin, as well as comfortable with his own personality. That said, he would tone down the sensitivity if he could, he genuinely cannot participate in an argument without being on the verge of tears.

27. A dream that they have never told anyone. He won’t tell this to anyone because he realises how pathetic it is of him, a product of his heartbreak. It makes him feel miserable to even think about it. He just wishes there could have been some way to be happy alongside his maker, some way to have made him realise that bringing him into this immortality would ruin everything, everything they had. Maybe what he truly needs in order to forgive, is an apology.

28. Do they believe in fate? Not really, but there’s definitely a romantic appeal to the idea.

29. Favourite season: Spring.

30. FIVE favourite singers/bands/performers: Chopin, Tchaikovsky, Liszt, and more recently ABBA and Lana del Rey.

TAGGED BY: @desanctii ( thank you ! ) TAGGING: once you see this I’m sorry but you’re it, no takebacks

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