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#their songs are good and especially the incorporation of this traditional singing
cygnusthebear · 2 months
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I think your writing would sound lovely as song lyrics 💕 There are a lot of artists who dont sing but still incorporate their voices into the song in more of a speaking/spoken-word way, or even collab with a singer to help out with the vocal aspects, maybe you'd like doing that if you're not so comfortable with your singing voice yet? Also lot of the artists i like are not objectively the best singers but can incorporate their voices into the song in a way thats still rlly captivating :) What kind of music would you want to make? <333
This is all a very good point, my <333 anon - I could probably find an inventive way to incorporate my voice. The brief moment I was in a band in junior high I did spoken word surrealist poetry lol
I really want to experiment with Ozarker folk music and adjacent styles, along with incorporating elements from other avant-garde folk music traditions, like American Primitivism (a la Sandy Bull) and freak folk. I think there's a lot to explore in that space still, especially seeing how Ozarker music might interrelate with the psychedelia and poetry of freak folk. I'd want to learn banjo for a project like that.
The music I used to make though was either sample based stuff or post-rock influenced electronic music. I also used to try to make noise music in my room, like using an amp and a violin bow on my bass guitar to create distortion, or turning batteries into a metal slide. A lot of my other stuff was just written down and never turned into music
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on-the-shelves · 6 months
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on my shelf: soundtrack to MA year 3 - summer (a.k.a. the finale)
And so it comes to an end. I handed in my Master's thesis (topic: Emancipatory Potential of Girl Teen Film) about a week ago, so now I'm just waiting for it to be graded and also I have to find a job or something now... The thing I have been dreading most for like 10 years...
ANYWAY so I was super busy this summer with the thesis and going to a Japanese film festival for a class (I mostly saw very emotional movies (oops) and one very good comedy (Mondays: See You 'This' Week)), going to concerts (Red Velvet!!! Odd Eye Circle!!! Twice!!), going on vacation but still spending at least 3 hours every day working on my thesis, keeping up with the BTS members, seeing literally every BTS/TXT/IU concert or documentary they showed in cinemas, etc. etc.
So here we go into the final list of albums/songs that soundtracked my studies (it's been almost exactly 6 years since my first post in this series!!):
The Jazz Hop Café: (anything with "jazzy lofi" in the title)
So this one's not really an album, I know, but I wanted to mention this YouTube channel and their compilations of lofi songs because on many days, playing one of their videos was the only way I could get focused on the work I had to do. Using a video was also much more helpful to me than that famous lo-fi livestream because it helped me track how many hours I had been working. Truly a life-saver. And the music just sounds great too. They found some real gems!
Agust D: D-Day (2023)
What a perfect finale to the Agust D trilogy. While all three albums, Agust D (2016), D-2 (2020) and now this one, deal with anger and fear, there's a clear maturation in how these subjects and emotions are approached. On D-Day, Agust D is speaking to the world and breaking free - in openly and honestly sharing his struggles, his pain, he hopes others can feel comforted. The album literally begins with the line "Future's gonna be okay" ("D-Day"). The theme continues throughout the album, most prominent in "Amygdala" and "Snooze", a beautifully cinematic track featuring the late Ryuichi Sakamoto that is dedicated especially to everyone working publically in the music industry and struggling. He has been there, he knows what it's like and he is sincerely cheering you on. In the last years, Yoongi has emphasised again and again how much he wants to help out others and this album showcases this desire the clearest out of all of his albums. He's also pushing himself to try out a variety of new styles without losing his identity: "People Pt. 2 (feat. IU)", "SDL" and "Life Goes On" showcase his warm singing voice, while "Snooze" is the grandest he's gone musically, filled with strings, guitars, piano, and so much emotion. "Haegeum" takes a leaf out of "Daechwita" from D-2's book by incorporating a traditional Korean instrument in a novel way, while using the lyrics to speak of the hypocrisies plaguing society today. The music video for that one is like a movie, too. All in all, the album is hopeful while being emotionally heavy - and in that way, it allows a feeling of catharsis. How desperately I wish I could've gone to a concert on the tour...
fav: Life Goes On; People Pt. 2
Jimin: Face (2023)
So this was not at all what I would have expected from Jimin's first solo EP, considering the types of songs he had released before. Especially the first single, "Set Me Free, Pt. 2" came busting down the doors and demolishing all those preconceived expectations with it's assured declaration of wanting to break free from them. The other tracks are more intimate but just as interesting. The album opens with clown-like music before morphing into a very different sound and the opening line "All right, I guess the blame is on me" - brilliant. The album feels very visual to me because it's full of this kind of 'sound painting', like the clown music or "Interlude : Dive", which tells a whole story of Jimin reminiscing about the BTS concert days and the frustration and sadness of not being able to do that right now. Jimin has said he worked through his feelings from the most difficult times of the pandemic in these songs and you can feel that frustration all over these tracks. For example: Lead single "Like Crazy" really makes you feel like you're not fully sober, just trying to ignore all the bad feelings but struggling to do so. Jimin uses his already unique voice in a variety of new ways throughout the tracks. And added to that, there are quite a few interesting moments on all these songs - like the long-ish musical interlude after "Like Crazy"'s first chorus or the way the music stutters after the "Lie lie lie lie lie lie lie" line in "Alone". An added bonus, lovely moment is the hidden track on the physical album, which is more like what I'd have expected from Jimin, and is a beautiful guitar ballad for ARMY.
fav: Face-off
V: Layover (2023)
After years and years of V promising that his mixtape/album would come out soon, just for him to reveal that he's scrapped everything and started over, it's finally here and it's everything I could have ever hoped. One of the first BTS songs I heard that made me fall into the rabbit hole was his "Singularity". The R&B, more laid-back sound suits his vocal tone so perfectly, and that's exactly what runs through all of these new songs. One thing that stands out is how much room is given to the instrumentals: "Slow Dancing"'s second half is just a flute/piano solo with no vocals. It really boosts that laid-back, dreamy feeling that runs throughout the EP. Lyrically, all the songs are about missing someone and wanting them back, which V conveys very convincingly. The music emphasises this feeling in different ways - from the slightly off-key (?) moments in "Rainy Days", to the jazz and soul inspired free-ness of "Slow Dancing", to the key change via pitched-up vocals in "For Us". Generally the sound also fit in perfectly with all of that jazzy lofi I'd been listening to while writing, which made it feel instantly familiar and cozy. My favourite part of the promotions were all the live band sessions that really added so much to these songs.
fav: Rainy Days; Blue
Jung Kook: "Seven" (2023)
Song of the Summer!! I literally couldn't stop listening to this song all summer, seven days a week (ha). To be honest, I was shocked when I heard the lyrics the first time because Jung Kook just had a much more innocent (?) image, but actually this vibe suits him perfectly. He is such a quintessential pop star - vocals, dance, looks, charisma: he has it all in abundance. And on top of that, he lacks the cheesy insincerity or even low-key misogyny that I get from a lot of the pop boys historically. The lyrics to "Seven" are sexy, especially because of how loving they seem: "I kiss your waist and ease your mind"! "I must be favored to know ya"!! It's just so very Jung Kook. And I really enjoyed the remixes of the song, too, in a way I haven't enjoyed remixes since BTS' "Dynamite". Especially the "Island Remix" was fun for me, since I was on holiday on an island when it was released (Mallorca - the same island where V also shot some videos for his album this year!!).
Kep1er: LOVESTRUCK! (2023); Magic Hour (2023)
Both Kep1er EPs this year have had some of their best non-single tracks so far, with generally better line distribution among the members than their lead singles/title tracks. They have been leaning more into a groovy, light sound, and allowing more space for individual vocals and harmonies. By Magic Hour, it feels like they are starting to find a good niche for themselves, musically. "Galileo" is my favourite title track of theirs since "Up" (2022) and this might be the first time I truly like every song on an EP. Hopefully this doesn't turn out to be their last album, since they're a project group with a limited contract which is supposed to be up after two years (meaning end of this year)... They're only just starting to find their feet as a group! What a strange system...
fav: Back To The City; Why; Galileo; The Door
Odd Eye Circle: &lt;Version Up> (2023)
After the chaos on Loona island that started at the end of last year, all the members got out of their contract this year!! And then went on to several different new agencies. They do keep mentioning that Loona is not broken up, so there is still hope for an OT12 reunion at some point. For now, the first group to have released new music is the second Loona sub-unit Odd Eye Circle, who just so happens to be my favourite sub-unit. And they truly delivered once again. Maybe it helped that they're working with their original producer again, but they really do showcase an upgraded version of themselves on this new album. Every song is such an earworm, but not annoying in any way. And I really enjoy the little references to the Loona discography and first OEC EP - the introduction track often brings a little tear to my eye. I have barely listened to Loona in the past year because of the ongoing boycott and this EP filled that void a little. Plus the girls were AMAZING in concert, I literally cannot believe I saw them live in a tiny venue in Berlin and got to see all of their solo songs, duets, and of course OEC songs. And even "Hi High"!
fav: Je Ne Sais Quoi; Love Me Like
Loossemble: Loossemble (2023)
Speaking of Loona: The five members who went to a different label recently released their own EP under the name Loossemble, which stands for Loona Assemble (so cute). Even though this was literally only released two weeks ago, I've been listening to it constantly. First of all, we finally get to hear the five members who usually get the least amount of lines in OT12 songs - and they sound so good! I especially love all of the harmonies on the album. This EP also really still feels like a Loona (sub-unit) album, especially from the fan-favourite earlier days, not straying too far into unknown territory (yet?) but not boring in any way because they do get to showcase new things, like ViVi's lower register on "Sensitive". I also find it very cool that all of the members have at least one writing/composing credit on the EP, which is something they've never gotten to do before but are really good at! And "Strawberry Soda" was even written for them by fellow Loona (but not Loossemble) member Yves! They're really still carrying the OT12 agenda. Fingers crossed Loossemble also decides to tour in Europe at some point!
fav: Strawberry Soda; Sensitive
NewJeans: Get Up (2023)
It's really amazing how NewJeans keep upping their game with every release. This EP is more summery again, but again in a way that's very atypical for K-Pop, drawing on various styles of dance music as well as R&B. It's varied and fun and has quite a few interesting elements, such as the unusual sparse sound of "ASAP" and the horns in "ETA".
fav: Super Shy; Get Up
BTS: "Take Two" (2023)
Of course they recorded a song to be released around their 10-year anniversary when they weren't all able to celebrate together. Of course they did. And of course it's such a warm, embracing hug of a song. 2025 can't come soon enough.
And here are some more albums I enjoyed:
Colde: Love Part 2 (2023)
Twice: Ready To Be (2023)
Fifty Fifty: The Fifty (2022)
Fall Out Boy: So Much (for) Stardust (2023)
j-hope: Jack In The Box (HOPE Edition) (2023)
STAYC: Teenfresh (2023)
Le Sserafim: Unforgiven (2023)
Viviz: VarioUS (2023)
Itzy: Cheshire (2022)
the BTS discography remains on repeat as well, of course
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A final note: I'm really proud of myself for keeping this series going all this time. I already sometimes look back on older posts and it's so interesting to see how my taste in music and my way of writing changed through the years. Sometimes the music you listened to at a certain time in your life will always remain connected to that time for you but sometimes that connection weakens. So having these posts to look back on is like having all these little time capsules, which is nice. I don't know if I'll keep doing something similar now that I'm out of school, but it could be nice... We'll see what happens next (I have 0 plans for my future :D)!
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REMEMBERING MAESTROS.....
MAESTRO SHANKAR REMEMBERS……….
Here are some excerpts from Maestro Shankarji’s interesting interview:
“Ever since I can remember I have been singing and playing musical instruments. The gift of music is something deep in a man’s being – he lives with it, it lives with him. It runs through him like an electric current. Music – especially musical composition – is not for a dull man.
Early in life I joined a group of people in Hyderabad, my home town – actors, dancers, singers – who made their living going from town to town performing.
When I reached Bombay, I went to Prithviraj Kapoor. His Prithvi Theatres had just got going – they were performing “Shakuntla.” Prithviraj was then a towering majestic personality. I saw him first at the Deodhar music class in Bombay. I expressed a desire to work with him and he took me on after a “test” – a solo tabla recital.
Sometime later, in the course of my visits to film studios, I met a thin youth, not at all sure of himself, but as I saw at once, full of talent. I took him along to Prithvi Theatres and got him a job with me in in its orchestra. This was Jaikishan. His job was to play the harmonium. I myself used to play music and also play small roles on the stage. Something of the actor survives in me even today, for in the excitement of musical creation I find myself acting –gesticulating or even dancing – so as to feel for myself the exact circumstances in which an actor or actress will sing the song concerned on the screen.
Soon after Jaikishan joined us, Prithvi Theatres went on a tour to Jodhpur. Here Jaikishan promptly fell ill. I am amused today to recall the efforts I had to make just to keep Jaikishan in the job!
I am also frequently asked how exactly the Shankar-Jaikishan team works. Being a team, the main thing about us is team work. Both Jaikishan and I, like others in our profession, are continuously getting a mental change of ideas. We discuss these with each other. Good ideas of each immediately take shape as songs. If one of the partners suggests changes, these are promptly incorporated. It is thus share and share alike. We also share the money equally.
I spoke of the “change” of ideas. Tunes are continuously flitting through our heads –tantalising, challenging us. We fix the ‘tunes’ right there, in our heads. There is no need to record them – I never can forget a good tune. Then there is a session with the lyricist when we acquaint him with the beats of the proposed song. The lyricist may either fix the beats in his mind before going off to write the words, or he may note down dummy words representing the beats, to be replaced later with the genuine lyrics. Sometimes we may give the lyricist somr catchy words suiting our tune, for him to weave a lyric based on it. After the lyric is written, starts the whole complex process of rehearsals with orchestra and singers, ending ultimately in the final “taking” of the song.
The audience we have in our minds when we compose our songs consists of the young in age and the young at heart. This is a very important point and it colours our entire work.
For instance, the young set are the up-to-the-minute set. They are modern. They like catchy things. They like new things. They listen to the music of other countries and have cultivated an outlook as well as expectations going beyond national boundaries.
The implications of all these on our work are that we cannot be tradition-bound and we cannot ignore popular trends in music abroad.
I have no other interest in life except music. It is my comfort both success and in occasional failures. When I come home tired, I go straight to my piano. Its keys open for me a world in itself – with its own tempests, its own serenity.”
Courtesy Mukund Marulkar ji
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coghive · 2 years
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The Mccrary Sisters Debut Two New Tracks Feat. Late Sister Deborah || @mccrarysisters
Since releasing their recording of “Amazing Grace” in 2021, The McCrary Sisters — dubbed “Nashville music royalty” by NPR — have lost two members of their legendary family: sister Deborah, and brother Sam, Jr. In the spirit of healing, the iconic group will release two new tracks featuring some of Deborah’s last recordings: “Shake It Off,” out now, and “Run On,” bowing September 2. Written by Regina McCrary and Ann McCrary, “Shake It Off” aims to encourage — to see beyond the immediate challenge to the big picture, to rest assured there is always a way out and a way through. “I’d just left church and was on the interstate driving home feeling good,” says Regina. “Someone cut me off and flipped me the bird. And I thought, ‘I have to shake it off.’ Sometimes we get off balance. I realize one of my weaknesses is road rage. I have to catch myself. I have to shake that off. It can happen anytime. You try to be nice to somebody and they get all arrogant and rude, you have to take the upper road.”
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Stream/download/purchase Mccrary Sisters“Shake It Off” here. https://youtu.be/cbcnS0y1WoU?list=OLAK5uy_kkTxCsSvWSKeVDL9mBnsl3E5gVA32rS2E On September 2, The McCrary Sisters will release “Run On,” a traditional song with a karmic theme. Ann shares, “When I was a child, my Daddy would always say ‘Don’t worry about it — God’s gonna get ’em.’ I get scared with things going on in the world. There’s nothing I can do personally sometimes, but I know God will take care of it. I might not see it or hear about it, and that’s okay.” In addition to the renowned voices of Regina, Ann, Alfreda, and Deborah, “Run On” features vocals from Allen McCrary (one of the Sisters’ beloved brothers). “We are particularly moved to release this expanded family recording this year as we grieve — there were 8 of us, and everybody sang,” the group says. “There were 8 of us, and now we’re 5. It feels especially meaningful to release a song with our brother’s voice this year.” The McCrary Sisters (who’ve recorded or performed with the likes of Delbert McClinton, Black Keys, Sheryl Crow, Maren Morris, Eric Church, Carrie Underwood, Buddy Miller, Rosanne Cash, Margo Price, Widespread Panic and many more) continue to mourn the June 1st passing of their sister, while honoring her cherished memory. “Her voice and presence shall be greatly missed,” Alfreda shares. “Deborah was so funny — I’m so honored and blessed that God let me have her for my sister. It’s an awesome feeling when you know someone loves you! Deborah would always say that it was a blessing to be able to sing with her sisters, and we feel the same.” About The McCrary Sisters: The McCrary Sisters sing gospel that melds traditional with contemporary and incorporates their influences of classic soul, Americana, blues, rock, and R&B music. Central to their work and any show is their boundless joy in singing, and a desire to spread hope, love, healing (and dancing). Daughters of the late Rev. Samuel McCrary — a founding member of the legendary gospel quartet The Fairfield Four — Ann, Regina, Alfreda and Deborah grew up in Nashville surrounded by music, artists, community, and faith. The daughters were raised in harmony, singing at home and at their father’s church. In their formative years, the sisters had many accomplishments — individually and together — sharing in their family legacy performing with artists including Bob Dylan, Elvis, Isaac Hayes and Stevie Wonder. In 2011, the Sisters officially formed their own group, The McCrary Sisters, and have since recorded or performed with notable artists Delbert McClinton, Black Keys, Martina McBride, Eric Church, Patty Griffin, Buddy Miller, Jonny Lang, Robert Randolph, The Winans, Donnie McClurkin, Rosanne Cash, Carrie Underwood, Hank Williams Jr., Dr. John, Widespread Panic, Sheryl Crow, Maren Morris, Gregg Allman and many more. Their own recordings previous to these include a single “Amazing Grace” (2021), and albums A Very McCrary Christmas (2019), Live (2017), Let’s Go (2015), All The Way (2013), Our Journey (2011). Follow The McCrary Sisters on social media: Facebook: facebook.com/mccrarysisters Instagram: instagram.com/themccrarysisters/ Twitter: twitter.com/mccrarysisters Music Platforms: Spotify | Apple | Amazon | Pandora Read the full article
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hughgaughnn · 2 years
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Depression is a serious mental health condition that affects people of all ages. According to the National Institute of Mental Health, depression is one of the most common mental disorders in the United States. It can cause negative thoughts, feelings of sadness and hopelessness, and affect a person's ability to function normally. In addition to traditional forms of treatment such as medication and therapy, there are many things you can do to help overcome depression. One great way to improve your mood is by playing music!
There are many benefits to playing music when you're feeling down. For one, it can help take your mind off of negative thoughts and focus on something positive. Playing an instrument can also help you express yourself in a creative way, which can be very therapeutic. In addition, music has been shown to have a calming effect on the brain and can even help reduce stress and anxiety.
If you're struggling with depression, don't be afraid to give music a try. It's a great way to boost your mood and improve your overall mental health!
Singing has been shown to be especially beneficial for mental health. In one study, singing was found to be more effective than medication in reducing depression symptoms. The act of singing releases endorphins, which have mood-boosting effects. In addition, singing can help reduce stress and anxiety, and promote relaxation.
So if you're feeling down, try putting on your favorite song and singing along! You may just find that it helps to lift your spirits.
There are many different ways to incorporate music into your life if you're struggling with depression. You can listen to music, sing along to your favorite songs, or even play an instrument. Whatever you choose, make sure it's something that you enjoy and that makes you feel good. Remember, the goal is to boost your mood and improve your mental health. So don't be afraid to experiment until you find what works for you.
If you or someone you know is struggling with depression, please seek professional help. Depression is a serious condition that should not be taken lightly. There are many resources available to those who need help. Reach out to a friend, family member, or mental health professional if you need someone to talk to. Remember, you are not alone. Millions of people suffer from depression, but there is hope. With the right treatment and support, you can overcome it.
Music has the power to heal.
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therukurals · 2 years
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ONEUS(원어스) ‘Intro : 창 (窓 : Window) (Feat. 최예림)’
[ID: 3 gifs from a Oneus music video featuring Choi Ye-rim. The first gif is black and white with a boomerang effect and a slight blur. Choi Ye-rim is in the middle with the members of Oneus around her getting up from a formation on the floor. The middle gif is in full color with red lighting of a close up on her, with overlaid text in a calligraphy style going from  “창” to “窓” to “Window”  with a glitch effect. The last gif is similar to the first gif, except Choi Ye-rim is stepping back with her arm up while Oneus is crouching down../END ID}
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mako-lies · 2 years
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I’ve been really into Cambodian music lately, specifically the growing Original Music Movement. For some context, Cambodia had a really rocking music scene in the 60s, prior to the Khmer Rouge taking over. A lot of the Khmer cultural heritage was lost during the Cambodian Genocide, and recovery after the fall of the Khmer Rouge regime is... still ongoing in a lot of ways. 
 Specially focusing on music, a lot of the music that Cambodia “produced” after that was basically Khmer (Khmer, referring both to the people of Cambodia and also the Khmer language) covers of foreign songs. There was no producer of original Khmer music. It wasn’t until recently that there was a revival of Cambodian original music. 
The figure I’m most familiar with is Laura Mam, though she isn’t the only figure. She is co-founder of a record label called Baramey Productions, which produces Khmer original music. Her story is really interesting. Here are some NPR articles about her and a TED talk that she did. 
 Her production company, Baramey, is the one I’m most familiar with and has artists such as VannDa, Sophia Kao, Khmeng Khmer, and Songha. There’s another popular production company called KlapYaHandz with artists like Vuthea, SreyLeak, and AGO. I also was able to find an alternative label called Yab Moung Records. 
 History lesson aside, LETS TALK ABOUT THE MUSIC. 
VannDA 
 Basically, if we’re talking about contemporary Cambodian music, we HAVE to start with VannDa. He is considered the King of Cambodian Rap, and for good reason. His ability to seamlessly weave old and modern music styles, English and Khmer, is incredible. An incredibly versatile artist, I don’t think I’ve heard anything of his I don’t like. Honestly, a lot of his songs read like poetry—and they’re all subtitled in English so he’s a really good jumping in point.
Time to Rise is his most famous song. It’s helped him reach international fame, and really meshes traditional Khmer music with modern rap. It also incorporates vocals from Master Kong Nay, a musician who survived the Khmer Rouge, to really solidify this blend of past and present. The lyrics are gorgeous, the beats amazing, and it’s just such an incredible song. The instrumentals (the ones not done by Master Kong Nay) are done by Vanthan, a fantastic musician who’s mastered all of the Khmer traditional instruments.
  Queen Bee is a sweet love song. This is a live performance he did, linked mostly because you can really see the flute here!
Sorrow lmao he did a video on his phone when he was in quarantine 
 Laura Mam 
While she mostly produces these days I think, she does still make music sometimes, especially for Women’s Day. She has such a sweet sounding voice, and I love everything that she puts out! Also, she dances really well—sometimes she shows up in Baramey Productions videos to dance and things. Again, her videos are subtitled in English, so an easy jumping in point.
 Just Like You is a really cool song that honors three Cambodian women and tells their stories of resilience. Has some bonus VannDa in it, and is catchy as hell. 
 Kmeng Khmer 
Literally meaning “Khmer Youth,” they’re a duo who were actually the first group signed on with Baramey Productions. I really like that they’ve got a young, kind of lighter sound. Their stuff doesn’t have subtitles, so I don’t understand the lyrics, but it’s such fun music to listen to!
 Far Away is such a bop. And their dancing is really nice. I love how bright and fun the video is, too. 
Komlos Tang 3 is another fun, catchy bop that I really enjoy. 
 Sophia Kao 
She’s more of an R&B singer. I love how distinct her voice is, it’s so relaxing and good. She mostly (entirely?) sings in English, and often collabs with the other Baramey artists. I really love her sophisticated sound and sad vibe. 
Time is a great sad love song. I love her mix with VannDa, the blend of English and Khmer they have going~! 
 Hell is another sad love song in her typical style. 
 Vuthea 
A hugely popular Cambodian artist, he works in a variety of styles ranging from pop-rock to hip hop to more traditional styles as well. Vuthea’s songs are some of the most popular in Cambodia today, and for good reason—he’s super fun to listen to. 
Kromom 3 Styles is a fun song to listen to, and possibly his most popular song?
Oun Sas Ey is another easy listen. His songs always have such a nice beat, and his voice is so nice! 
Sreyleak 
A farmer who sings both pop and traditional music, Sreyleak has such a beautiful voice. She is super popular in Cambodia, and I love all of the music of hers that I’ve heard. 
Saravan Rok Ku is super neat because she’s got this very traditional sound going on, compared to the rap that goes on in the middle. Her voice is just so lovely, and I never feel like she’s overpowered by the rappers. 
Rom Tov Mit is just a really nice display of her vocals, it’s super sweet~! 
Sin Setsochhata 
The granddaughter of one of Cambodia’s most famous singers, she is a soul and pop singer. Her voice is beautiful, and she’s able to sing a bunch of different styles too. She’s working on a new EP and I’m super hyped to see what she’s going to make! 
Champa Battambang is a remake she did of one of her grandfather’s most famous songs. It’s honestly so beautiful, the first time I listened to it, it took my breath away. 
Truth is a beautifully sad song, that shows off her voice so well. It also has English captions, and is an incredibly poignant song about facing the reality of her father’s death. 
Vartey Ganiva 
Dubbed Cambodia’s Queen of Punk, she’s one of the few punk/alternative Khmer artists. I honestly couldn’t find much about her, but she seems really neat! 
Evil Husband is about domestic abuse. Such a strong song. I love her voice, and the instrumentals are so good too! ​
I’ll stop here because uh… this list is already GINORMOUS, but I hope you like at least some of the songs I’ve linked. Some of the artists are on iTunes if you decide you want to support them. It’ll be really cool to see how Cambodia music continues to develop~! Note: I’m not like… a huge music person, so I don’t know all the terminology or anything so sorry about that! I just got really excited. Also, I’ve done some research for this, but if I’ve gotten anything glaringly wrong, please let me know (:
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petekaos · 2 years
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hi hello pls gimme thai music recs !!
hiii nonnie!! of course i can hehe! some of my favourite thai artists have to be: desktop error, tilly birds, bodyslam, scrubb, milli, wonderframe, f.hero, maiyarap and lazyloxy! all of these artists are a little different so i hope you can find what you're looking for here. this got a little long so i’ll put it under a cut.
desktop error is my secret little alternative indie rock and experimental band nobody knows about. i stumbled upon them back in late 2019 and imagine my surprise when sarawat mentioned them in 2gether! i think they did get some sort of recognition after that but they're still pretty unknown internationally. absolutely undeserved though, because they have to be some of my favourites on this list. there's not too much information about them but i know they're made up of five people who have been friends since high school and university and they incorporate both traditional thai instruments as well as more modern instruments into their music. they have a lot of live performances and sets on youtube too! two songs i definitely recommend are rest, ticket to home, and kwan jang la. i have a whole post here recommending desktop error songs! you should check that out bc desktop error only have one album on spotify; ticket to home for example is on youtube and you can find the link in that post!
as for tilly birds, i adore them soooo much. they're an alternative rock band with some r&b influences here and there! the guys also just seem like genuinely good people; they supported the democracy protests in thailand for example. i'd recommend checking out same page and just being friendly by them!
bodyslam is probably the most popular on this list. they're a thai rock/pop band who i like a lot! the lead vocalist has a very unique voice and they have super fun live performances. from them i really recommend the คราม (kraam) album, especially track 6. they're quite well-known and well-loved as well.
scrubb gained popularity through 2gether especially, but i used to listen to a couple of songs before then too! they're a music duo who formed during college and i'd say their music is more (alternative) rock? i'm super bad at music genres so take that with a grain of salt. good starting songs from them are everything and closer.
milli is literally out of this world. she's an up-and-coming rapper who's just 18 or 19 i believe and she's been taking the thai music world by storm! she's featured with a lot of artists, such as tilly birds and wonderframe! she talks about a lot of political activism and loving yourself in her songs; she's an inspiration! she recently released a song with f.hero and changbin from stray kids, which is a solid song. from her, i'd recommend checking out mirror mirror and not yet!
i've been following wonderframe for a while and she's lovely! i really like her voice, she does mostly r&b and pop, and i remember her winning something at the kazz awards last year too! she released a song with mek jirakit which i recommend checking out because the mv is also just super cute ... it's called ลองเลย (love stranger project)! another song i recommend from her is วงวาร.
f.hero is fairly well known in the thai music industry. he's a rapper and has collaborated with a lot of other thai artists, especially ones rooted in heavy metal and rock. he's famously collaborated with bambam, formerly from got7, as well as changbin from stray kids as mentioned above. i can recommend slipped your mind, which features tilly birds, mirror mirror, and do you, which features bambam.
as for maiyarap, he's a rapper (duh) who has gone on quite a lot of competitions and also has a nice singing voice! his latest single with milli, แฟนใหม่หน้าคุ้น, as well as his collabs with three man down and lazyloxy are pretty good!
lazyloxy is another thai rapper whose songs i enjoy! he has quite a distinctive voice and i don't listen to him a lot but he's still a very solid artists. my favourites by him are probably tiger cry freestyle and badboy, which incidentally features maiyarap.
i could go on and on and on, but i'll stop here for now! as you could probably tell from this list, the thai music industry is pretty tight-knit, especially in the particular genres, and so you'll have people collaborating and featuring on each other's songs a lot. this is very common in the rap sphere, for example! so by listening to some artists, you'll probably be introduced to others too. i'd say my absolute favourites on this list are desktop error, tilly birds, and bodyslam! i hope you can find something you like :') <3
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Evanescence, Halestorm double up on rock riffs for new tour
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NASHVILLE, Tenn. — Evanescence and Halestorm will bring double dose of rock to arenas this fall on their joint tour, an idea that sprang up after both bands had to take a year off touring because of the pandemic.
The U.S. tour, which starts on Nov. 5, brings together lead singers Amy Lee of Evanescence and Lzzy Hale of Halestorm, who have been friends since their first tour together in 2012. Some of the stops include Seattle, Las Vegas, Detroit and Duluth, Georgia.
“It’s cool because our audiences, they like each other,” said Lee in a joint interview with Hale. “They fit really well together naturally, so it’s just cool to bring that big group of people together.”
“Talk about getting exactly what you wanted after not having what you want for so long,” chimed in Hale.
The two Grammy-winning rock bands have spent much of 2020 working on new music, with Evanescence releasing “The Bitter Truth,” the band’s first record of original material in a decade. Halestorm has also been hard at work in the studio, using the downtime to create.Lee and Hale also both live in Nashville, Tennessee, when they aren’t touring the world. Their friendship bloomed on that first tour, especially when the two would hit the karaoke bars.
“When you go on tour with another band, the tradition is that you have to sing the other person’s song and embarrass them and make sure that everyone can hear it up very loud,” Lee said with a laugh.Hale said that about half the time, she doesn’t get recognized when she’s singing karaoke, but she does get compliments from unknowing bar patrons.
“It’s kind of fun to go up and sing a song and then have like these moms that watch ‘American Idol,’ say like, ‘You should sign up!’” said Hale. “And then I’m like, yeah, momma’s still got it, alright!”
The two singers admit to some pre-tour nerves since they’ve been off the road for longer than expected. Lee said she has the added challenge of incorporating new songs into the set they haven’t played live very much. “All this time off has been good for our voices,” said Lee. “But it’s also something where we need to warm it up a little bit.”
They also promise fans some special collaborative moments on the tour. They’ve recorded together recently, with Lee joining in on Halestorm’s “Break In” and Hale adding her background vocals to Evanescence’s “Use My Voice.”
“I feel really equally matched, like when we sing together,” said Lee. “It’s like a dance partner. It’s like we’re able to do stuff together that feels really special and rare.”
Hale said playing again for tens of thousands of fans after the live music industry was decimated by COVID-19 pandemic restrictions will feel different than other tour she’s done.“It’s going to be a different world, but I think we’re going to appreciate it more now and not take any of it for granted, which is good,” said Hale.
Photo by Mark Humphrey
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virtchandmoir · 3 years
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HUBBELL AND DONOHUE COMPOSE A HALLELUJAH
January 11, 2021
Madison Hubbell and Zach Donohue have hit a sort of “Hallelujah” trifecta. Certainly they’re the first team to marry skating’s favorite versions of the Leonard Cohen composition—those of Jeff Buckley and k.d. lang—in a single program, and the first to present two separate programs to the song. And more than this, they tapped a choreographer who skated to it himself: Scott Moir, who in 2012-13 used Buckley’s version for an exhibition with partner Tessa Virtue.
The Buckley connection, though, was purely fortuitous. Last season, a year after his retirement from competition, Moir offered his first choreographic insights to former training mates Hubbell and Donohue, adding some input on a program they’d already forged with coach Marie-France Dubreuil.
The plan was always for more, given a special connection between Moir and Donohue, who first shared training space in the 2010-11 season, in Canton, Michigan, when Donohue was paired with Alissandra Aronow and Moir and Virtue had an unusual season including surgery for her and an overdue return to competition. The bond grew years later in Montreal, with Virtue and Moir training there from 2016 through 2018.
“They had something unique, where I think a lot of us train hard, we all have a very supportive quality within the school, but Zach and Scott were able to push each other a little bit, almost challenge each other to be pushing harder or motivating each other in a little bit different way,” said Hubbell. “So I think that kind of started the spark that was like, maybe this would work and maybe this would be a good addition. You know, I connect a lot with Marie in choreography and we have a lot of amazing people here, but I think that Zach was able to find a different part of himself working with Scott, and the coaches were able to see that that would be a good combination.”
Timing, however, was trickier. “It turns out that when you’re one of the most decorated skaters of all time, you got some stuff to do, so he was hard to nail down,” said Hubbell. “So I think that actually, this really strange year, where everything was on pause, was a big blessing for us because it gave Scott a lot of time that maybe he would have otherwise been using to tour or go to competitions with his own students.”
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The team estimated that they’ve worked with Moir about five times now, including for four days in mid-December a week before our conversation. “It’s pretty amazing, but he always watches our competitions and gives us feedback,” said Donohue. “And he’s in close communication with Marie, so he comes in with a pretty solid plan every time. And we’re just able to breathe a little bit of life into transitions that we thought we understood and get a deeper understanding of them, another energy, a little bit more of a connection to each other within that music. And we both feel the music so well, sometimes it’s easy to get lost in it ourselves, so it’s nice to have him there to kind of give us those focus points on how we can really bring everyone into our story.”
Moir’s recent competitive experience is a boon, noted Donohue, and so too his ability in retirement to focus more on process than results. “From my standpoint of having trained with him and always only seeing the push and the drive and the intensity that is Scott Moir, it’s really interesting to see the way his mind works and the details,” he said. “The way he thinks about starting and finishing a movement, why that movement registers to him, why certain ones work and why others don’t, why they can seem disingenuous. To be able to pinpoint what it is, no, there’s no way, and even if I could, to be honest, I wouldn’t put it out there, because that’s his thing. It’s not for me to share.”
“I was surprised at his specificity,” said Hubbell. “Even now, when he was here, you know, we have the whole program set, but we might spend the entire two-hour lesson with him on one little 10-second transition, because he was very dialed into these moments that he wanted a certain way. There was no rush to get there at a certain point—he was going to spend as much time as needed to get the result that he wanted.”
But that attention to detail was also critical for the team. “That’s part of, I think, why we’re able to feel so comfortable in the piece as well,” she concluded. “Like, there aren’t any sticky moments, there aren’t things that are up in the air or like, oh, this isn’t comfortable, but just push through because it looks fine.”
Moir’s other priority has been keying in on the team’s assets. “Really committing to the fact that if we stay true to what we’re good at and what we like to perform, that that would be enough, and we don’t have to necessarily try to attain all the things from each team or be the best at everything,” said Hubbell. “We have to be the best at what we are.”
And what that is, they’ve determined, is something Moir knows a bit about: the basics. “We love stroking, we love footwork, we love edge quality more than any flashy tricks or more acrobatic moments,” she continued. “We like the human connection of looking each other in the eyes and the simplicity that can come from something that looks simple, but really isn’t simple to execute.”
The free dance made its full public debut in October, via an at-home video performance submitted to U.S. Figure Skating’s International Selection Pool Points Challenge—a new event introduced to allow elite skaters a competitive opportunity in the wake of COVID-related event cancellations. Its only traditional outing so far came at late October’s Skate America, before a live audience of judges, tech panelists, and whimsical cardboard cutouts of fans, pets, and the GEICO Gecko®. Any subsequent outside feedback has also come long-distance—thanks to video submissions to judges and the federation—but despite the uncertainties of the season beyond the U.S. Figure Skating Championships, the team has found ways to stay focused.
“I’d say that staying motivated, at least for myself, has been pretty easy because first, we chose programs that we both really enjoy performing, and second, that we really connect to,” said Donohue. “And then on top of that, we have some of our closest competition here with us. So I think that’s a pretty fortunate situation for us.”
“And especially working with an outside choreographer has helped, I think, kind of put almost competition dates in our mind,” added Hubbell. “It’s almost like those little milestones where it’s like, okay, we know Scott will come back in a month and a half and he’s left us with these projects, and now let’s develop those. And then we get feedback from him.”
The open schedule has, in its way, taught patience. “There were some moments in there that maybe the choreography was a new feeling for us, and instead of having to make it work or simplify something because a competition was coming, we were just able to really commit to the project,” she continued. “And things have remained relatively stable, which is actually, I think, better in the long term for the development of the program.”
***
There’s another bond involved here—that between Hubbell, Donohue, and “Hallelujah,” a connection they’ve discussed since first using lang’s rendition for their short dance in the 2015-16 season. It’s a song closely tied to the early days of their partnership, when Donohue would sing the piece to Hubbell to ease her nerves. In the strangeness of this year’s off-ice off-season, coach Patrice Lauzon suggested the team choose a piece for their free dance that felt like home for them, or a concept that felt underexplored. The answer—including the choice this time of Buckley—was obvious.
“I think we feel like we never really got to fully experience what ‘Hallelujah’ was or could have been because it was missing the feeling that we get… I mean, any time we’d be in the car on a road trip, we’d play one, we’d talk about the other,” said Donohue. “Play the other one, we’d talk about the other one. I mean, they were always kind of synonymous with each other because of the balance of what they brought to the other piece.”
Lang’s version, with a more pronounced 6/8 beat and warmer arrangement, was the more obvious choice for a short dance pairing a Ravensburger Waltz and march. “And it was a good time, I think, in our career, the first year of coming to these new coaches, to explore the more hopeful and outward expression of ‘Hallelujah,’” said Hubbell. But the free was another story. “We knew that the Jeff Buckley version was very important to our relationship. And the Jeff version is Zach for me—like, that is him personified. So it definitely wasn’t going to be the right program without it.”
Dubreuil asked the couple which elements of each song they most wanted to utilize, and she, Moir, and music editor Hugo Chouinard took command of the final arrangement, while Karl Hugo composed a bridging piece to connect the two versions. The full edit has remained untouched since its creation—an unusual situation for elite ice dancers in general, and particularly for Hubbell and Donohue.
“We’re usually the ones nitpicking here and there,” said Hubbell. “And I think she knew that we were so attached to this song that even talking the first time, it was like, which parts do you like? And I was like, well, I like this verse and this verse, and I definitely want to use this verse. I think she knew that she had to take an outsider’s approach. Definitely there are verses that I am very attached to myself that aren’t in that song, and I just carry that energy into the music, even though the words aren’t there.”
Musically, Buckley’s version in particular can be challenging for a skater, incorporating unusual rhythmic moments and spare instrumental backing, while the soaring vocal line and steady pace of lang’s version demands creativity to avoid any obvious choices. An inability to choreograph on ice until after the song’s final edit disrupted the team’s typical hands-on approach to working through music, elements, and layout as an ongoing process.
“Twizzles, for example, was a part where we had a completely different feeling of where it should start, and Marie said something like, ‘oh, we should start it on this music,’ and we were like—” Hubbell offered a dubious expression. “’Not sure, that seems like the weirdest accent to start.’ And then we tried it, and it was like, wow.” So too, she said, with the choreographic sliding move that closes the program.
The outcome has been a program with each element custom-set to the music, intricately woven with even the subtlest accents—even if it means scrapping planned work. “We had a lift in mind that we wanted to put in, and we’ve been working on it throughout the season,” she continued. “And as cool as the lift is, it doesn’t seem to fit. It’s like too dynamic for the quietness of the music, so I think it goes into the log for another year.”
“Hallelujah” itself is often custom-modified by its interpreters. Leonard Cohen claimed to have composed around 80 verses for the song, shifting lines in and out in live performance and giving future artists an opening to craft the story they most wish to emphasize. Hubbell and Donohue similarly prefer to leave their own program open to viewer interpretation.
“We chose it because it’s something very personal and it’s very home for us, and even in the creation of the program with Scott, he never asked to go too far into that bubble,” said Hubbell. But for the team, the messages conveyed by Buckley and lang transcend words.
“[Buckley] has this kind of broken vulnerability about him,” said Donohue. “Like, you hear his voice, and you just kind of don’t move. Even the way he just exhales in the very beginning of the music—we didn’t cut that out because we really felt like it set the tone for what he was feeling and the way he was expressing the lyrics.”
Hubbell finds in Buckley’s rendition a sense of loss, “a painful kind of plea,” whereas lang’s version offers a sense of catharsis. “Jeff’s, each verse, you just feel a little bit more broken inside, a little bit more empty,” she said. “It’s part of why we put Jeff at the beginning, because we felt like we needed to build to a moment of, okay, everything is going to be okay. We all go through this, and there’s light on the other side.”
And then there’s the sense of subject matter—the interpretations of “Hallelujah,” of course, ranging from the spiritual to the sensual.
Of Buckley’s, Hubbell noted, “there’s an intimate, more of a human quality, where I feel like he’s singing about someone or about a lover. There are moments in that song where it feels so much more of a human to human connection. And then k.d.’s, where it really feels ethereal. It feels like she’s singing to God, it feels like she’s asking for some help or some guidance from something that is not understood.”
And while Hubbell and Donohue’s free dance is the merging of two musical perspectives, it’s good to remember that so, too, is its design—Moir joined by the veteran Dubreuil.
“For me,” said Hubbell, “working with them and doing their choreography, it’s like Scott is the Jeff Buckley version and Marie-France is the k.d. lang version. Scott has this grounded, very real—like, there’s no faking the emotion, there’s no contrived story, there’s just real connection, intimacy. You know, just that kind of earthy version that is Jeff Buckley. And working with Marie-France is a lot more giving, it’s a lot more bringing something to the audience that’s watching you, open and graceful and specifically very feminine.”
It’s been said that “Hallelujah” is a song that didn’t quite find its own final form until transformed by new interpretations—first by John Cale, who inspired Jeff Buckley, the impact of whose version then, on some level, inspired many others that followed.
And while it’s easy to look at one team’s free dance as a revision, or perhaps addendum, to an earlier short, it’s more compelling to consider the idea of a genetic thread between interpreters. As Cohen begat Cale begat Buckley and lang, Virtue and Moir’s own “Hallelujah” was choreographed by Marina Zoueva, who injected into that exhibition a few moves drawn from decorated pair Ekaterina Gordeeva and Sergei Grinkov. Hubbell and Donohue’s free in turn carries not only Moir and Dubreuil’s DNA, but echoes of their forebears. The complex but intimate transitions would’ve suited any Virtue and Moir free dance of the early 2010s; the emphasis on utilizing every inch of music through contemporary dance is a legacy of Jennifer Swan and Guillaume Cote.
But my own investment in identifying the program’s intricacies, from musical nuance to choreographic accent, is also just another way of interpreting the enigma that is “Hallelujah.”
“We hope that when people watch it, they have their own experience,” said Hubbell. “Even for us, each time we skate it or practice it, it can bring out a different feeling based on what we’re going through in that moment, so I don’t think there’s a story that should be known. I mean, ‘Hallelujah,’ for me, is like life. Whatever you need it to mean for you in that moment is what it should mean.”
—Two for the Ice
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heizuha-queen · 3 years
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Hey, I really enjoyed your KPOP headcanons (the Gosho Girls desperately need more content like this since everyone just focuses on the boys)! I came up with some myself for Kazuha (because I love her) and you said you were fine with other people adding on so here they are. This is... kind a lot so it might be super long... Maybe you could copy paste this into a post if publishing the ask is too hard? I'm not sure if you'll agree, but I hope at least some of them are good enough for you to add to your headcanons haha
- Kazuha seems like someone who greatly values authenticity and honesty (she says what she means and honestly thinks after all). So I think she would be the type to always sing live and refuse to lip sync, even if her singing is not 100% perfect. She would rather make mistakes and have flaws than to not actually sing/fake it. To her, this is what makes it a true live - something where anything can happen and something can potentially go wrong
- Despite this, she is still upset at herself if she makes mistakes and will try to train harder to overcome them
- As a main vocalist, her technique is amazing, obviously, but she is a performance > technique (or performer > technician) type of person and she would sacrifice technique for performance value if need be (though obviously she would try for both)
- Similarly, I don't think she would like her voice to be over-edited (or with many effects) and she would prefer to keep it mostly raw, since that is more authentic and conveys her emotions and passion more (so keeping in things like breaths)
- Which leads me to the next thing. Kazuha would never become an idol if she wasn't completely serious, enthusiastic and passionate about music and performing (mostly singing). So her performances are always full of passion and rawness and you can tell she really enjoys performing and doesn't view it as a chore.
- Kazuha is an amazing performer with lots of stage presence. She's super expressive (and emotional) on stage and that shows in her dancing, singing and expressions. Although she's good at synchronising with people (aikido requires harmony after all), she adds a lot of little flairs that show her individuality (and slight improvisation rather than always completely following all the choreography), and sometimes she does this too much that it may slightly clash with/disrupt the synchronisation or overall harmony of the performance
- Despite this, I think she is still overall serious on stage/when performing, and doesn't give out too much fanservice since she's completely invested in the performance and focused on putting her absolute all into it.
- In fact, sometimes she can get too into it and be a bit too intense about performing that she can exhaust herself when practising. She has probably fainted from practising too much and losing track of time (see movie 21 with karuta). This is especially the case if she does not think she is good enough at a particular thing. She will keep practising that nonstop until she's satisfied, and will tend to start panicking if she doesn't improve to the level she wants. She tends to do less well when stressed like this.
- Japanese idols tend to have more of an emphasis on stage presence and interacting with the audience, and I think it's the same with Kazuha. She really enjoys concerts (over music/award shows) because she gets to interact more with the audience, and perform more /for/ the audience. She likes seeing the impact her singing has on people.
- I think her brand of beauty would be more natural (like in canon) so her stylists usually don't do /too/ much and she usually looks similar between performances and comebacks (eg, she usually doesn't drastically cut or dye her hair)
- She almost always wears her hair in a ponytail (with a ribbon) because it's an iconic look for her.
- When she doesn't have her hair in a ponytail, she always still manages to incorporate a ribbon somewhere because ribbons are /special/ to Kazuha ok (and are probably all treasured gifts from people
- I would say her singing style focuses on good emotional execution (she makes people Feel things ok) and high belting/power vocals while still maintaining good technique.
- Dancing? Pretty good but not as good as Ran, obviously. She seems to be the type to make up for any flaws in technique and strength (like how aikido's less strength-based) using passion. And she's the main vocalist so she usually doesn't get hard dance parts so that she can sing (esp since she sings live). And she'll sacrifice her dancing for her singing if need be.
- She's a fast learner though, so she learns lyrics and choreography pretty fast.
- In livestreams, she sings a lot and will allow people to request songs for her to sing acapella
- Probably one of the first to make a solo debut (if she wants) because her singing abilities allows her to carry entire songs by herself. Her songs will be very vocals-focused rather than dance-focused. Does a bunch of collabs as a solo artist too
- Covers a lot of Japanese songs, including traditional Japanese songs because her family is pretty traditional (and she fits that theme). In fact, she may be skilled in enka and traditional Japanese folk singing (kind of like the caller in karuta - like if you remember in movie 21, there's someone that kind of sings out the poems)
- Kazuha acts really authentically. She doesn't put on a stage persona or act differently just because she's a celebrity (she can't anyway, even if she tried. She would probably break character really easily)
- Probably cries at concerts all the time
- Probably best at cuter and fresher concepts, but she can also be powerful
- Puts so much emotion into her singing (especially with emotional songs) that sometimes she herself can become overwhelmed with them. She has probably broken down or started crying while performing a particular emotional song.
- A theatre (takarazuka) fan! So you better believe that she incorporates musical theatre techniques into her singing and performing.
YES YES YES AND YES! I honestly had all these headcanons as well, but I didn’t post them because I didn’t have more headcanons for the other girls and it wouldn’t be fair to give Kazuha more.
But omgggggg I agree with you with EVERYTHING! Love this
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trainthief · 4 years
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hey i'm one of those aforementioned "only-heard-blake-shelton" people - do you have any recs for better country music? i like finding new music but country is hard cause i don't really know where to start
I think the best way to explore any genre is to abandon the feeling that you’re obligated to develop an academic-level base of knowledge in the different foundations and aspects of it. If that’s something that actually interests you then by all means go for it, but despite how pretentious and rude people can get about music, it is at its heart just a form of expression - and while knowing which specific sounds might have influenced others can enhance the listening experience for some people, it’s not like there’s a prerequisite course load you need to take before you can start telling people you like country music at parties. 
Anyway, that point aside, here’s some basics: country itself is a really broad concept, and was initially defined more by its ideology and source than any specific structural musical qualities that it tended toward (although its creation was most heavily influenced by Irish, Mexican, and African musical traditions). The common use of instruments like guitars, banjos, and fiddles is more to do with the ease of accessibility and portability for poorer Americans of the late 1800s, who - especially in the West - tended to be at least somewhat nomadic. Thematically speaking, it was most often centered around the experiences of blue-collar workers, including but not limited to cowboys. Subsequently, it has suffered under the combined efforts of corporations and politicians to market a parody of rural America’s own culture right back at them, and that’s why - especially if you’re only in your 20’s or younger - it’s very possible your knowledge of it is defined by commercialized Bro Country (which in my opinion is almost always antithetical to the actual spirit of country music itself, and also from a musical perspective tends to be uninteresting bullshit). 
As far as subgenres go, the ideas quickly become so vague that it’s really up to the listener to decide how they want to categorize their music. Region and era can influence sound quite a bit, so that’s one way. Subject matter is another. Actual musical structure is a further one. I’m not going to bother and try to give you a comprehensive idea of all the options, because that’s impossible to do in anything shorter than an essay. Instead I’ll just fill you in on some of my favorites, and some song suggestions to go with them: 
Country Music You’ve Been Listening to This Whole Time Without Knowing It: this is an easy one to start with. Lots of folk music is also country music, whether you were aware of it or not. James Taylor, John Prine, John Denver, Bob Dylan…. You’ve been here this whole time. 
Outlaw Country: Tends to be either dark or mournful, but regardless it’s dramatic and fun. Usually framed around some fictional crime the singer has committed, which they have either been sentenced for or are on the run from. Good examples are Kate McCannon by Colter Wall, Mama Tried by Merle Haggard, Late July by Shakey Graves, Gallows Pole by Willie Watson, and Hell’s Canyon by Lost Dog Street Band
Spirituals: I’m definitely not going to tell you how to feel about religion itself - but given that music has been such a deeply rooted part of spiritual expression for as long as we’ve recorded history, and has very often evolved in tandem with or in response to religious movements, I think you’re really cutting yourself off from some good tunes if you try to ignore it entirely. Johnny Cash’s later stuff, especially, has the same dark overtones of his earlier Outlaw music but with the addition of gospel stylings and a religious severity that comes together in a way that’s honestly just straight up sexy to listen to. Ain’t No Grave and Redemption Day are probably the best two examples of this. On the other side, there’s the simplistic and heartfelt kind of spiritual country found in stuff like Hank Williams’ I Saw the Light, or I’ll Fly Away as performed by Gillian Welch, which I find really moving. 
Honky Tonk: On the subject of Hank Williams, honky tonk is really fun music, and I deeply resent the fact that it’s been incorporated into the classist caricature of rural stupidity. At its heart, honky tonk was just designed to be a good time, and the vocal techniques it employs are actually really difficult to master, so it deserves a lot more respect. Hank Williams, in particular, also tends to use it to get right at the heart of subjects I really enjoy (although don’t confuse him with his son Hank Williams Jr, who writes Bro Country and unfortunately seems to be a terrible person). Anyway, Mind Your Own Business is one of his (and one of my favorite personal anthems), and Wealth Won’t Save Your Soul is a powerful one too. Regarding more modern honky tonk, my favorite up-and-coming musician is named Nick Shoulders, and I’d recommend his songs Rather Low and Snakes and Waterfalls. 
Nice Comfortable Country Music Sung By Ladies: this is definitely a genre specific to just me, but it’s a type of music I grew up listening to a lot as a kid and I really love it. Like the title says, it’s just country songs by various very talented women who make you feel like you’re warm and at home. I Have a Need for Solitude by the great Mary Chapin Carpenter, Across the Great Divide by Nanci Griffith, Traveling Alone by Tift Merritt, Angel from Montgomery by Bonnie Raitt, Hammer and a Nail by The Indigo Girls
Poor Boy Blues: again, not a definitive stylistic subgenre so much as it is an opportunity to show off a few different songs of a few different styles that all follow a common and relatable theme, specifically one that is important to the overall genre itself. Dead End Street by Blake Mills, Crop Comes In by Chatham County Line, Thirteen Silver Dollars by Colter Wall, My Rifle My Pony and Me by Dean Martin, Cowpoke by Dave Stamey, Automobile by KALEO
Love And Heartbreak: have you really lived if you haven’t rocked out to Cowboy Take Me Away by the Dixie Chicks? No, you haven’t. You’ll also be happy to hear that I recall a poll that listed Cowboy Take Me Away as being the number one song every cowboy will sing along to on full blast whenever he’s alone. Anyway, there’s also Buddy by Willie Nelson, Crossing Muddy Waters by John Hiatt, Morning by Jim Ed Brown, Every Time I Hear That Song by Brandi Carlile, Gentle on My Mind by Glen Campbell, Kathleen by Townes Van Zandt. 
Experimental: if you’d like to get a little weird with it, I’d recommend The Gold is Deep by The Dead Tongues (which uses some really ambient reverb and a small church organ for a more psychedelic sound), or Familiarity by The Punch Brothers (which compositionally borrows a lot from modern classical chamber music with its rhythmic systems and pacing). 
There’s lots more we could get into here, like bluegrass, slow dancing music, spaghetti western soundtracks, and the fact that not all country pop-rock is bad, but I’ll stop myself here…. If you’re looking for a more general source for a lot of country all at once, here’s my favorite of my country playlists. Hope that was helpful! 
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flxradawn · 2 years
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meet flora dawn! ❁ more introductions & info about the character under the cut
☞ name : flora dawn ☞ nicknames : floss, flo ☞ pronouns : she/her   ☞ species : elf ☞ occupation : baker ☞ face-claim : ana de armas
“ floss is a baker in the local bazaar, spending her days tirelessly kneading and glazing for the sake of the appetites of the townsfolk of atherion. you will always find floss with a swipe of flour dusted absent-mindedly on her nose, flushed cheeks and a warming smile as she slips an extra honey cake or herbed scone into your basket with a wink.” 
TRAITS 
creative, protective, fierce, clumsy, warm, nurturing, daydreamer, envious, maternal
APPEARANCE 
floss always wears soft cotton dresses with sleeves rolled up to her elbows, linen aprons tied in a determined knot around her waist, sturdy brown boots with her dark hair tied up with a scarf although mischievous strands of hair always manage to escape.
BACKGROUND 
coming from a long line bloodline of elves, floss was born into a big family who have lived in the gentle realms of atherion for generations. floss knew nothing but warmth and love throughout her early childhood. being the eldest of seven younger siblings, she is fiercely protective of her younger elven brother and sisters. however, floss hardly knew her father, as he worked as a travelling merchant, venturing to atherion’s neighbouring lands selling locally made goods, providing coin for his family if not his longed-for presence in the home. while there were many mouths to feed in the family home, her mother always provided nurturance, ensuring that the children’s bellies were always kept fed with warm rabbit stews, rosemary potato pies and hot buttered bread. as the oldest of her siblings, floss began aiding her mother in their crowded but pleasantly aroma-ed kitchen at a very young age, watching with wide eyes and a curious eagerness as her mother stirred, boiled and spiced, singing traditional elvish songs as they toiled together.
when floss was still a small elf, no older than thirteen, her father tragically failed to return to atherion from one of his merchant’s voyages. to ensure her family was safe and looked after, young floss knew she had to undertake a trade, apprenticing at the local bakery to earn coin for her younger brothers and sisters. floss’s existing kitchen skills and knowledge were immediately admired and valued within the bakery, with her clever knack for ensuring the bread’s crust was especially crisp or the currant buns were drizzled with the right amounts of honey. throughout the years she spent in that little atherion bakery, floss always holds her elven heritage at the center of her craft, always incorporating traditional elvish techniques and flavours into her creations that she had learned from her mother, always singing traditional elven songs, quietly to herself, as she kneads from dawn till dusk.
PRESENT DAY / HEAD CANONS
❁ floss has been requested to bake for the royal families on occasion - at royal dances, parties and the like. while floss tries to convince herself she is not one for material things, she will often look down at her own simple garments of mere linen and leather at these events, feelings of envy flooding through her as she silently lusts after the finery and beauty of the royal court. floss’s daily vocation ensures she lives a simple life, working hard and humbly for family, giving them any spare coin she may find herself possessing rather than indulging in a new dress of exotic silks sold at the bazaar. floss is a dreamer and these little daydreams of hers elicit feelings of guilt and shame when she lusts for bigger things, better things, a life of decadence and beauty. while she knows it is not likely her fate of owning material possessions such as fine clothes and trinkets, she incorporates beauty into her baked goods, etching floral patterns onto the loaves of bread and decorating the sweet cakes with bundles of wildflowers.
❁ due to the trauma surrounding her missing father, floss is now afraid of horses and travelling far from her home and atherion. while she herself has no desire to stray from her home, she loves to hear the stories of travellers and visitors from afar that stop off at the bakery, always listening wide-eyed in excitement of tales of adventure and exploration.
❁ in the rare moments she has some spare time on her hands, floss loves to forage and pick wild fruits and mushrooms from the local forest and close surrounds
❁ while floss is warm to the townsfolk, she always remains firm and cannot be taken advantage of, despite people's many attempts to appeal to her good nature and swindle her out of a fair bargain.
❁ proud of her elven heritage, floss will often be found singing and reciting elvish songs and poetry to herself, especially while she bakes
❁ floss absolutely adores deer and other little forest critters
❁ as her upbringing elicited strong maternal and nurturing inclinations, floss is drawn to those who need assistance and help in whatever form that may be, even if they are resistant to it at first. floss will persevere and is not frightened or taken aback by antisocial personalities. she often finds that one of her berry scones fresh from the oven and a warm herbal concoction will  thaw an icy exterior sooner or later.
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coastgods · 4 years
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Norwegian primstaff symbols. Here in northern Europe we celebrate the Midsummer solstice on the 23rd of June. Depending on where you celebrate it, you either burn pyres or raise may/midsummer-poles (an older expression "att maja" = to crown/decorate with leaves), some places are known to do both.
The primstaff marks the midnight sun on a traditional calendar. In the the old days this was an especially magic evening and fortune telling became popular on this night.
Nature and animals spirits are particularly potent in magic on this day and any way of showing gratitude towards the animistic would boost your own spirit.
To roll naked in the midsummer morning dew is to strengthen your health.
Picking seven different flowers and putting them under your pillow will make you dream of you future spouse/partner.
While the may-poles is widely regarded as a phallos symbol, a symbol of fertility, a ritualistic piece for future prosperity in sex, love and actual good farming. -It is denounced altogether by historical research claiming that there is just no proof for it to be any of that. We know almost nothing of festive midsummer practices before the 1600s when it was brought over in a mixed bag from Germany, incorporating both pagan and christian sentiments.
In the 1600s and 1700s, May-poles were carried by students and farmhands through towns singing May-songs while begging for money.
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Here is the earliest depiction of a May-pole, in Erik Dahlberg's Suecia Antigua.
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crashingmeteorz · 3 years
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the original residents of the secret airbender city of mùchéng
continued from here.
so i imagine that 20 or so airbenders make it to mùchéng. more than half of them are 12 or younger, so a lot of the journey to the north mountains and the subsequent settlement is spent comforting the cries of young children. it’s tough, for the adults, however, because not all of them even are adults.
the youngest non-12-year-old is the patient and gentle madhur, who is 15. the nuns used to say they were born floating about like dandelions, because that’s how soft and loving they were as a child. madhur gets along beautifully with the younger kids, but unfortunately gets shouldered with a lot of undue responsibility because of this. some of the other teenagers try and point this out and help them, but the adults are far too busy trying to figure out how to keep their culture alive, which, you know, fair. madhur has an extreme sweet tooth, which the children relate to, of course.
next is the 17-year-old headstrong anila, who never quite felt like she fit in among the other airbenders. interested in material things like jewelery and pretty clothes, anila often dreamt of leaving her culture behind, and began traveling as soon as she was able. however, she was home when the fire nation attacked, and managed to smuggle out a couple of kids, meeting up with the group later. now that her people are gone, anila deals with survivor’s guilt, feeling she doesn’t deserve to be the one carrying on the air nomads traditions since she shunned them. however, it’s her appreciation for and understanding of earth kingdom societal norms that ultimately helps them survive, and she is one of the first to raise a family with an earth kingdom man, although not until her late 20s. she also helps with the kids, and can be stricter, but sings lovely lullabies to them at night.
kavi is 19 years old, and is a nervous wreck. he doesn’t even know how he survived the invasion, much less with the young monk boy he’d been mentoring on his back, but hey, it happened. he means well and loves his people, but he’s terrified to leave mùchéng, and thus spends most of his time learning to construct homes and pathways in the mountains with the materials they’ve gathered, so that he can be of some use. quiet children flock to him, as he is very good at understanding their fear and anxiety, soothing them with stories of their people.
ishani is a 25-year old airbender woman who invented a move at 16, gaining her arrows that way, and is very confident in her abilities. sticking to a strict moral code and somehow feeling she is personally responsible for the reestablishment of the air nomads, ishani often stresses herself out with the weight of her responsibilities. she and anila butt heads often, but as time goes by they become very good friends, learning from each other and appreciating each other’s stances. ishani helps anila to appreciate her culture more, and anila helps ishani to loosen up.
simran is a 33-year-old non-bending monk who left behind his great love at the temple, and feels guilt for mourning her more personally than anyone else. the genocide leaves him in a crippling depression, and for years he lives in a gray, empty world, despite his fellow nomads’ best efforts to help simran. however, as time goes by, he finds new love in their small city growing into something more.
reva and jamyang are a lovely wlw couple in their mid-40s. a very powerful pair of benders who happily cared for the air bison, they were devastated when their noble steed, jaya, died in one of sozin’s traps, affording them time to escape. they tell the children the stories of the air bison and how they were the first airbenders. reva, the more adventurous of the two, eventually tames some of the animals on the mountain so that the children may learn the joys of caring for another life. jamyang, meanwhile, the more creative, paints beautiful murals depicting different aspects of airbending culture: their animals, their foods, their most famous benders, avatar yangchen, all of it. reva and jamyang are basically everyone’s moms.
danish is in his early 60s and is very strict. he spends most of his time trying to figure out how to communicate in secret with the outside world, and let the other air nomads know that they’re alive and safe in a compound. though not harsh with children, they simply are not his cup of tea. however, being a fan of oral tradition, when asked, he will gladly go on long tangents about his journeys between the air temples atop his lovely bison dorji.
lina is a non-bender nun in her mid-to-late 60s who, like danish, is very strict, but in the opposite sense. she and danish bicker like an old married couple, danish insisting they reach out to their brethren, and lina insisting they do not do that, and instead focus solely on their new life here. lina studies earth kingdom culture intensely, wanting them all to blend in should anyone ever find their city. lina will often play story-telling games with the children, which are actually ways of getting them to memorize important details about the earth kingdom.
finally, the 80-year-old lhamo, a compassionate and wise woman who passes away a few years after mùchéng finally begins to look like a home. she guides these air nomads into the new age, offering advice and a shoulder to cry on at all times. because of her frailty, the adults are always insisting various degrees of “don’t bother her”, but lhamo seeks out company and somehow always knows what’s bothering you. she finally passes when a storm blows through mùchéng, threatening to tear the little wooden city apart, and lhamo practically controls the storm, bending the wind away from them with the help of the other benders.
so these are my mùchéng founders! i’ve been thinking about them for a long time, and am pretty happy with how they turned out. let me know what you think! also, huge shoutout to @zarakem for always supporting this headcanon. it meant a lot to see your consistent support 😊 if anyone would like to know the meaning behind the airbender names, they’re below the cut!
madhur: a masculine and feminine hindi name simply meaning “sweet”, with the scripts मधुर. this felt appropriate, especially with madhur’s personality being very sweet, and their love of sweet treats.
anila: the feminine version of the hindi name “anil”, which means “air, wind”. it’s spelled with the scripts अनिला. i liked this name for anila, because it would have been just another way she felt trapped in her culture. eventually she lives up to her name, incorporating both her culture and her personal choices into her lifestyle.
kavi: a masculine hindi name meaing “ wise man, sage, poet” with the scripts कवि. kavi is very wise, but often gets ignored because of his shyness and anxiety. his storytelling prowess is what draws the children to him, which is why i chose this name.
ishani: a feminine hindi name meaning “ruling, possessing”, with the scripts इशानी. ishani is a pillar of leadership for the survivng nomads, and has always been a leader-type. however, her name felt kind of like a pre-determined destiny, and caused her to at first be bossy in her youth. she quickly sheds this trait.
simran: a masculine and feminine hindi name meaning “recollection”, with the scripts सिमरन. simran makes it his mission to memorialize his lost love, and the other airbenders as well. he becomes a living memory, in a way.
reva:  a feminine hindi name meaning “one that moves”, with the scripts रेवा. reva is adventurous and constantly learning new things, and perfectly fits her name. 
jamyang: a masculine and feminine tibetan name meaning “gentle song” with the scripts འཇམ་དབྱངས. being a storyteller, jamyang’s voice often feels like a gentle song. she’s also a very kind and loving soul, befitting her name.
danish: a masculine urdu name meaning “knowledge, learning” with the scripts  دانش. danish is a knowledge-seeker, and wishes to find the other airbenders. he devotes most of his life to studying texts and traditions.
lina: a feminine hindi name meaning “absorbed, united”, with the scripts लीना. lina’s whole goal is for the surviving air nomads to blend in with the earth kingdom and mesh their two cultures, so this felt like a fitting name.
lhamo: a feminine and masculine tibetan name meaning “goddess”, with the scripts ལྷ་མོ. lhamo is the fearless and graceful elder of these surviving nomads. she felt like no less than a goddess to me. 
jaya: a feminine and masculine hindi name meaning “victory”, with the scripts  जय. a brave and devoted air bison, jaya sacrifices herself, true, but her beloved airbenders escape. she considers this a victory.
dorji: a feminine and masculine tibetan name meaning “diamond”, with the scripts རྡོ་རྗེ. danish is kind of pretentious and considered his air bison to be a beautiful gem of an animal, mostly because she belonged to him. he misses his diamond dearly.
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moonlightflower21 · 4 years
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hope you guys love this one! took me a lil while because i wasn't sure how to structure it and in the end i went with little headcannons :) <3
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Leonardo:
christmas with him is so cute and cosy
he's so thoughtful, thinking so hard for your presents and what you like
enlists april for help because obviously he can't buy them
wraps them up super carefully, with a cute lil note around the string
never fails to tell you how much you love him
and it's not always direct
under the mistletoe, for example. he will give you a little smirk and point to the ceiling wherever it may be placed.
and baby, his kiss? sweet yet passionate, short yet keeps you intoxicated. just amazing *chef kiss*
other examples of his touches are when you're doing something and he just leans against you for a lil while lost in happy thoughts
or holds your hands when you come back from the cold. he warms you up real good hehe
or rests his forehead against yours, allowing the christmas lights to dance across his body.
you totally place a cute lil hat on him
in turn, he braids in some tinsel in your hair. so now your hair is a sparkly mess. but you're having way too much fun to care
such a cheery mood overall
you guys may even belt out to christmas songs
his laughter is so catchy, your favourite tune. so it ends up with you both giggling halfway through the song
and later, you're both wrapped in blankets, sipping at hot cocoa
he loves these quiet moments, warmth flooding both your bodies while the movie is playing in the background.
his hand will always be touching you, somehow. if you're decorating the tree, he'll be right there to help you.
still in shock he celebrated this festive holiday with an angel.
"merry christmas, my love" he whispers at the end of the night, hearing the fire crackle in the background
"merry christmas, sweetheart" you reply, looking deep in his eyes.
that's love swirling in those oceans pools
and then he kisses you tenderly.
nothing has to be extravagant, over the top. just this intimate moment between you and him is all he loves.
christmas could end with him making love to you or wrapped in each others embrace.
your choice, honey ;)
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Raphael:
christmas with this guy is really and truly unpredictable
but not 'cause he's angry
oh no, he's the most relaxed and chilled person.
well, kinda. (he woke up with glitter everywhere and mikey screeching in his ears that it was christmas)
but it's because, you never know what the nights going to hold with him
you may go out for a motorcycle ride, admiring all of new york in it's beauty
or he bring you to the rooftop, to admire your beauty
but what he loves, is being down in the lair. that's his home and with you and the overall vibe, it's so comforting. your house isn't a problem, either :)
this bad boy will hang up mistletoe in areas where you're sure to enter and will immediately run to you when you're underneath one.
"guess we better kiss, per tradition~"
you're going to be the one to part lips, raphael has no self control. he will have a makeout with you, literally anywhere. only exception is splinter
and he wants you to hang the lil star/angel on top of the tree.
will hold your waist and pick you up like a lil feather. "that's so beautiful babe, like you"
music (christmas, ofc) will be playing softly in the background
home alone is on t.v. and in your hands are warm cups of cocoa
he added the lil marshmallows (cutie)
and when you laugh, his face breaks out into his own little smile
he can't help it, you're so fucking gorgeous
"merry christmas baby" his finger is under your chin, directing your attention to him. he's sincere and vulnerable in this moment. his heart is on the line here
gets super insecure and sad when you don't reciprocate the love back.
but you do, you always do.
this christmas has been the best by far, spending every second with you.
"merry christmas, sweetheart"
christmas sex to end the night! (if you want to, though. everything is all consent!)
his lovemaking is normally all passionate, to savour the happy moments.
however this depends if you've been nice or naughty, raphael will decide
although knowing him, he will say naughty ;) kinky turt
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Donatello:
one of the few times where all work is dropped and he can have fun!
but to be honest, will check time to time on his work. fear not hon, his focus is mainly you!
all the sweet treats will have a lock on them if possible
leo will have to warn him not to touch the frosted cupcakes
you may have to restrain him a little
he finds you sweeter though anyway ;)
he loves, loves, loves decorating stuff and will start with his lab.
will have you with him, as he drapes christmas decor around the lair
all the taller stuff, he will have you to sit on his shoulders and do for him.
lowkey can reach but he wants you on him
he puts on christmas music but will end up with you both dancing in each others arms, miming the words.
asks you what you wanna do, since he wants this night to be the most perfect for you
but you remind him that it's his night too and whatever he wants to do, should be incorporated
and so, he brings you to the couch, grabbing the massive bowl of popcorn and blankets on his way
you're more than happy
he will sneak mistletoe kisses, lil nerd
and then leans against you, with his signature smile
y'know the one where his cute lil smile is parted, showing his teeth slightly. yes that one
you kiss him once, then twice, then three times because you can't help it.
he's so freaking peRFECT *cries*
and the lair looks so beautiful, bathed in a golden light kudos to you. such a romantic moment~
"merry christmas, my dove" he whispers, holding your hand to kiss the top of it.
a rosy hue paints your cheek and your heart thumps happily
"merry christmas, love"
he doesn't mind having sex with you
but the night finishes with cuddles and happiness.
couple a cute nerds, you both 🥺🥰🤍
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Michelangelo:
oh honey, it's all the pick up lines, all the jokes packed in this sunshine
"i'm not santa, but you can sit on my lap"
"mikey, do we have any pizza? i figured we can-" "i don't think we do only because you've stolen a pizza of my heart" he clutched his chest dramatically
when you're setting out the christmas presents and food, "babe, tie your shoes! can't have you falling for anyone else!"
"hey sweetness, do you have a name? or can I call you mine?"
and you can't even be mad with him. it's so heartwarming
cooking with him is so much fun
singing out to random songs
if you haven't already, will plop some reindeer ears on your head
"if we gonna do this, we gonna do it properly!"
you guys make all sorts of foods. especially gingerbread cookies. and then it's a competition to sees who makes the better one
this is all the while, belting your hearts out to songs
he twirls you under the kitchen lights, turns this into this massive dance number
with him singing all the way
laughter and chuckles escape both your mouths and finally he looks at you
happiness is literally beaming out of every single crevice in his body.
"merry christmas, to my sweet, gorgeous, beautiful, honey bunch" he holds you close, his hands around your waist and you grin
"merry christmas, to my wonderful, adorable, funny, stunning and amazing turtle" you kiss his cheek but he kisses your lip, hugging you close.
tearing up because that's the cutest and meaningful thing anyone has ever said
oh by the way, mistletoe kisses are a mUST!
literally, it's crazy because every corner you turn, boom! there's a freaking mistletoe
which... kinda backfired since you were under one with his brother
he let out a gasp and ripped off the extra added mistletoe muttering angrily.
you smooched his cute nose instead
but the night finishes as it started with laughter, happiness and excitement.
you know damn well, he won't refuse sex with you. if you're tired, he won't push anything.
he's perfectly content with snuggling you :3
and celebrating it all together is one word: magical. one big happy family. if you're working on christmas day, he will wait for you to come back. depending on your mood, he will either sing merry christmas to you while dancing around the lair with you or wrap you in a fluffy blanket and place you in his lap. and the second you're in the lair, all worries must be left at the doorstep and you enter a literal wonderland. he will make sure you have the best time of your life. forgot his present? absolutely no fucking worries. sick and ill? he will be your lil doctor, still incorporating some of the festive cheer. because he loves you so much.
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