#Complementary Mixtape

[proqhetic]

laura lee w total opposite style f!reader? like reader trying to help her live a little more, taking her to dates, showing her new artists, skipping classes to get together ^^ and also laura lee teaching r things such as baking and stuff

AHH this is so cute i love laura lee she deserves sm more love and attention from every1

laura lee’s obviously quite conservative and a stickler for the rules, that is until she met you

loud, independent, known for defying the norm — perfectly complementary!!!

the first time you took her out on a date (you took the initiative to ask her out), she was really nervous and spent hours getting ready like in those movie montages <3

bringing her to a theme park and her being so anxious at first ,, but as the date continued she grew to let loose

at the end of it even did the raise your arms thing on the roller coaster with you!!

the literal definition of “most unlikely couple” and “opposites attract”, but you two manage to make it work 😚😚

she loves holding your hand. it’s a huge source of comfort for her

trying to convince her to skip class with you one day and rent was DUE

“no we shouldn’t—” “i meannn, it’s the start of the semester. we skip now, we can’t get away with doing this for the rest of the year…” [pleading with puppy dog eyes while taking her hand in yours] “it’s one day, the only really important lessons today are chemistry and literature. and we could just get all the notes from lottie or jackie-“ “lottie and jackie…” [in unison] “EXACTLY.”

you end up buying her a sweet treat as a thank you for joining, then taking her to your favourite spot at the back of the park, sharing the mixtape you made for her (spoiler alert: she loves it) while she braids your hair

becomes your guys’s spot & she loves going for picnics there with you 🧺🥪🧃!!!

in turn, you ask her about her faith and she loves sharing it with you, without any judgment from your end

also think she would start swearing slightly more after getting close you, just silently or under her breath

laura lee is definitely known as that one designated baker in your school. whenever she bakes something at home, she saves a portion for you and gifts it in a tupperware for you the next day 😋

on days when she bakes bigger batches she’ll go around and hand it out to friends too!! bake sale #1 contributor

you on the other hand have come close to burning down your house via oven several times

her lowk stressing out while you’re baking brownies because you somehow keep measuring everything slightly off and mixing the wrong ingredients together

“was it 200ml…? or was that 200g for something else??”

at the end of the day she finds it (you) extremely endearing, hovering around and watching you closely all afternoon.

giving u a kiss on the cheek after you two finally shut the oven door before u pull her in for a proper one :>

you end up turning ‘clean up time’ into ‘make an even bigger mess time’ by playing with the flour and tossing some at laura lee .. at first she >:( and then she got you back with an even bigger handful hehehe

decorates the brownies with you and on one of the squares writes “(r’s initial) + LL” in frosting, encasing it in a cute pink heart 💗

you try and recreate something similar but it just turns into squiggly illegible lines — she hits you with the “it’s the thought that counts!!” while giggling her ass off

[lyrical4ces]

DJ Nestle – Complementary Mixtape Amazine Dj Nestle team up with Rawkeys Entertainment to dishes out this ear watering mixtape titled Complementary Mixtape.

[kakerutori]

Guys I think I’m. I think I’m becoming a very staunch Stonathan shipper, no irony whatsoever. Like if I think about it too much I just- enemies to friends to lovers with so much misunderstanding resolved through their protectiveness over the Party and how they love them and also love each other and they’re both so chill and confident in different yet complementary ways and like can you imagine all the snippy dialogue and Jonathan sharing his mixtapes and lowkey hooking Steve on weed and Steve styling Jonathan’s hair because Jonathan’s been refusing to let anyone touch his hair too much but he lets Steve because he finally trusts him and-

Help?

[woosohn-archived]

hehe hiii june <33 ✨ + here is all my content <3 ilyyyy

ccs send me a link to your creations and i'll pick a top 5!

zaiiii <33 okay i have to preface with how you have such a distinct style! with your colors esp! you’ve cemented those complementary shades of blue and orange (unintentional txt reference) as your brand :’)

noeasy thunderous set - i am terribly behind when it comes to skz content and it’s only when i saw this set that i was pushed to watch the trailer ksdaldfnsj you captured the humor so so well! and i love when ccs use grain well <333 makes for a much more interesting look imo! and your captions! a+ i could almost hear the bgm in my mind

all night gfx - this looks so delicious, the detail!! when i try to make a ‘messy’ edit it just ends up. messy. lmao i don’t know how you guys manage to finesse it like this ;;

joshua magazine gfx - this. this fits my aesthetic so this might be biased but i LOVE this the colors the shapes, minor detail but good color pairing on the text fill and stroke!!

song camp ep 2 set - this is the perfect example of that trademark coloring ;; we need to call it the zai filter now. and the moments you chose are so cute! qts in floaties

mixtape: oh set - wait wait this is an even better example ;; i love how vibrant the orange is here - almost red! and it works so well with skintone! the blue on the cake is so soft i want 2 eat THE PANEL WITH CHAN ND LIX so cute;;

thanks for sending one in zai!! and lmk if you have a preferred emoji so i can add it to your tag :D

[youngboy-oldmind]

ALBUM REVIEW- Man On The Moon: End of Day

“And the Devil in a hot pink dress/ Tryna ask me for one dance/He think he slick/ But my guardians protect me from his wrath/ So, in my place no hate shall enter/ Livin' high up there, up there/ Copin', copin', floatin'/ I will find peace somewhere”

On his debut album Man On The Moon: The End of Day, Kid Cudi demonstrates a one-of-a-kind tone and style in the hip hop community. This record illustrates a unique combination of rapping and singing, technical abilities, and musical composition. Easily a classic from the end of the 2000s, this project established his impact and trail he’s set to blaze in years to come.

This is one of those albums you listen to at the end of the day when you need a smoke/drink and chill for the rest of the night. Cudi paints two conflicting yet complementary auras. The first is a very depressing, somber feeling; driven by dark thoughts, pressure from critics, and the image he believes he’s supposed to have. These darker songs are noted by “(nightmare)” in the title. The second is a very uplifted, relaxed, almost hopeful. Notable songs included “Simple As”, “Enter Galactic Love”, and “Cudi Zone”.

Cudi utilizes a very techy, spacey sound, appropriate for the album concept. There’s definitely influence from Kanye’s 808s and Heartbreak, but Cudi branches off and derives his own. The main way to tell if an artist stole a style vs derived from a style is to try picture another artist in the genre doing the song. If it sounds like a different artist can perform it, that style was stolen. But if it sounds funny or off, then that artist created their own style. So I cannot picture Cudi doing 808s and Heartbreak nor can I picture Kanye doing Man on the Moon. High production points include his biggest single “Day ‘N’ Nite”, “Cudi Zone”, and “Pursuit of Happiness”.

One important aspect to note is Cudi isn’t exactly lyrical on this project. It’s very raw, but not in the same rawness of someone like Kendrick Lamar. Lamar writes like poetry where lines and verses can be analyzed and peeled back to expose inner layers. Meanwhile Cudi is raw but in a straight forward way. I didn’t find myself needing to google and research many lines on this record. Whatever he’s feeling, he says bluntly. Projects that focus on depressed, emotional lows can feel less genuine if they’re woven like lyrical flexing. For example on “Soundtrack 2 My Life”, Cudi tells powerful yet straightforward lines:

“On Christmas time, my mom Christmas grind/ Got me most of what I wanted, how'd you do it mom, huh?/ She copped the toys I would play with in my room by myself/ "Why he by himself?"/ He got two older brothers, one hood, one good/ An independent older sister kept me fly when she could/ But they all didn't see/ The little bit of sadness in me”

I think the simplistic style is a good choice for this record.

There were only a few guests throughout the album, but only one song had other guests rapping: “Make Her Say”. Here, Kid Cudi, Kanye West, and Common join forces. Common also appears throughout this project as an omniscient narrator to Kid Cudi’s journey. I loved this concept. I think Common is a great choice as a father-like, all-seeing chacter to frame Cudi’s experience. Most of the guest features enhance the album. However, there is one exception.

Now I hate to say this, because I love “Make Her Say”. But I do not believe it fits on this album. It doesn’t match the concept, tone, or style, and feels extremely out of place. However, the good verses and dope sample earns it’s spot on his previous mixtape “Dat Kid From Cleveland”. Going from “Cudi Zone” to “Make Her Say” to “Pursuit of Happiness” felt like going from 100 to 0 to 100 again. The fun, relaxed nature of the song gives it very simple lyrics and instrumental. It feels like a cut from a G.O.O.D. music collab. As much as I like this song, it really doesn’t fit the album or the concept.

Besides that, there aren’t any weak spots or aspects I dislike about this project.  I think the idea of Cudi being the “Man On the Moon” matches the two auras I previously described. He’s high, uplifted, on a higher plane than the average man; separated from materialistic, average plights. But being that high up is cold and lonely. His self-isolation drives both what he likes and dislikes about himself. This is why I think these auras both conflict and complement each other. Through unique, excellent production, emotional storytelling, and a signature style, Cudi creates an out of body experience and paints a picture of what it’s like to be a Man on the Moon.

Top 3 Tracks:

1) Cudi Zone

2) Pursuit of Hapiness

3) Day N Nite

Overall Grade: A-

[lagosnaija-blog]

Mixtape: Dj Nestle - Complementary Mixtape | @iam_djnestle

Mixtape: Dj Nestle – Complementary Mixtape | @iam_djnestle

Amazine Dj Nestle team up with Rawkeys Entertainment to dishes out this ear watering mixtape titled Complementary Mixtape, this mix is sure to set you in turn up mood everytime you hit the play bottom, Kindly download share with friends and loved ones.

Listen & Download “Dj Nestle – Complementary Mixtape” below:-

DOWNLOAD NOW

Tracklist below:

Intro – Rawkey White & @iam_djnestle Dangote – Burna…

[gazemoil]

RECENSIONI 4IN1: Young Fathers, Rejjie Snow, The Carters, Big Red Machine

In questa istallazione di Recensioni 4in1 la parola d’ordine è: recuperare. Perché parliamo di quattro album usciti quest’anno che non abbiamo ancora avuto l’occasione di recensire, ma i quali credevamo fosse necessario considerare prima di lasciarci alle spalle il 2018. Iniziando col terzo album dei britannici Young Fathers che rivisitano il loro hip-hop ibrido, proseguendo col debutto del rapper irlandese Rejjie Snow e concludendo con due album di artisti che hanno deciso di incrociare le loro carriere da solisti o come parte di una band per formare un duo: i dei The Carters - dei coniugi Jay-Z e Beyoncé - e i Big Red Machine - di Justin Vernon dei Bon Iver e Aaron Dessner dei The National. 

Young Fathers - Cocoa Sugar (Ninja Tune, 2018)

Cocoa Sugar è il terzo album del trio britannico Young Fathers, successivo al debutto DEAD del 2014 - che gli ha fatto vincere il Mercury Prize - White Men Are Black Men Too del 2015 e alla collaborazione coi Massive Attack nel loro ultimo EP. Il trio sfuma i margini dell’alternative hip-hop e dell’rnb insinuandovi accenni trip hop e sonorità africane proprie delle origini di alcuni dei membri. Tuttavia, in Cocoa Sugar il loro intento era quello di creare musica più accessibile e meno permeata dalla loro salata critica politica, operando sulla maggiore pulizia nella produzione e sull’uso dei ritornelli nei testi. Nonostante ciò, il loro stile abrasivo e dissonante persiste ed i commenti socio-politico-culturali, seppur molto più velati, sono sempre presenti e riferiscono di rabbia e frustrazione nei confronti della situazione attuale, senza affrontarne direttamente le cause. Forse, stavolta i Young Fathers hanno preferito che a parlare di più fosse la musica, per questo ad ogni ritornello e melodia vocale si oppone un suono contrastante e sperimentale, come se la band si preoccupasse di scalfire troppo il suono da renderlo eccessivamente confortevole. Questa collisione tra intenzioni può anche essere interpretata come indecisione, ed è vero che concretamente l’album risulta mitigato da tracce notevoli ed altre totalmente fuori fuoco. 

Tuttavia, per comprendere meglio i Young Fathers e non interpretarli male è necessario capire quanto e come la loro musica sia radicalmente legata alle loro origini e alla loro esperienza “diasporica”. Come suggerisce il titolo, Cocoa Sugar esplora la dualità tra luce e buio, dolce e amaro, contrasti che rappresentano la fusione del modo in cui vedono il mondo. Detto questo, nel disco abbracciano le varie polarità senza forzarle ed a volte può risultare in scelte riuscite, altre meno. Sebbene alcune canzoni individualmente rimangano valide, è considerandole come parte di un album che riescono a rafforzarsi l’una con l’altra ed in sequenza si apprezzano di più, ad esempio nel caso delle prime tre tracce. Sfortunatamente, non si può ignorare il fatto che una buona parte dei brani sembrano rattoppi ed il loro tenersi sempre sul filo del rasoio li fa sembrare delle introduzioni a qualcosa che effettivamente non si realizza mai, come nel caso di Turn, Lord e Wire.

Toy è una traccia dall’energia passiva irrefrenabile e quasi subdola, con dell’ottimo rap ed un ritornello intossicante; verso la fine si aggiungono dei cori e sovrapposizioni vocali dal gusto esotico e tra armonizzazioni e grida attutite, nella strumentale sintetica includono elementi che danno ricchezza sonora, come piccoli cingoli che ricordano delle forchette che battono contro un bicchiere. Un aspetto che accomuna le canzoni è il loro sembrare come se siano state registrate mentre nel frattempo accadevano mille cose, discorsi, litigi, riti celebrativi che ti inebriano come se avessi infilato il naso dentro un calice di vino ed è il senso di tribalità rudimentale che ritroviamo in Feel Fi, Tremolo e Wow a rappresentare gli impulsi avant-garde del disco e renderlo particolare. In My View, invece, ha un nucleo esplicitamente pop, una sorta di manifesto delle intenzioni del trio, una via di mezzo sfuggente tra sperimentazione ed accessibilità. Nell’introduzione di Wow il ronzio abrasivo dei synth cambia progressivamente tono fino a quando si inseriscono colpi di tastiera impazziti che proseguono per tutto il corso della traccia, catapultandoci in un tira e molla caotico; il testo passa in secondo piano ed è molto spoglio, le voci giocano sullo stesso schema di sovrapposizoni della strumentale, ma con frasi e grida, mentre al centro è nascosto un cuore più seduttivo. In Cocoa Sugar i Young Fathers hanno mescolato le influenze più disparate per creare un disco provocatorio ed a volte originale, le loro voci sono complementari e dinamiche e le scelte sonore sono interessanti. L’altro lato della medaglia ha rivelato come a volte i brani risultino incompleti e come il volerli spogliare spietatamente non sia andato a buon fine, ma il tentativo di creare qualcosa di diverso - specialmente al terzo album - condensando il loro sound agli elementi chiave è comunque da apprezzare.

TRACCE MIGLIORI: In My View; Tremolo; Wow; Toy

TRACCE PEGGIORI: Turn; Lord; Wire

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Rejjie Snow - Dear Annie (300, 2018)

Se quest’album fosse uscito nel 2016, durante il periodo dei primi singoli come D.R.U.G.S. - giusto per menzionare una traccia - o anche nel 2017, anno in cui ne era stata inizialmente prevista la pubblicazione, Dear Annie avrebbe avuto un impatto sicuramente maggiore. Pare che posticiparne l’uscita non abbia proprio giocato a favore del rapper irlandese Rejjie Snow; in due anni di costante attesa frazionata e stemperata da singoli e persino un mixtape, pubblicare un album di debutto così tardi accresce smisuratamente le aspettative, anche più di quante se ne possano effettivamente soddisfare, e legittimamente, il pubblico si aspetta di sentire una maturazione artistica proporzionata.

Marketing a parte, le tempistiche dilatate non sono valse neanche la pena in quanto Dear Annie è la versione estesa e non filtrata di ciò che avevamo già sentito nel passato di Rejjie Snow. C’è da dire che tra le venti tracce del disco c’è sicuramente qualcosa di valido, come nel caso Egyptian Luvr, una delle tracce più riuscite in cui la collaborazione con Aminé non fa altro che legittimare il brano già ben prodotto, fresco e divertente; il contributo di Dana Williams suscita altrettanta approvazione in quanto la sua voce si rivela complementare a quella di Snow e rende tutte le tracce in cui partecipa melodicamente più attraenti e scorrevoli - vedi Room 27 e Oh No! - degna di nota è anche Spaceships, ma tuttavia la riuscita del brano e la sua conseguente distinzione rispetto agli altri, proviene principalmente dal ritornello cantato dalla voce calda e soul di Ebenezer.

Insolito è stato anche il metodo di pubblicizzazione del progetto, avvenuto tramite la previa pubblicazione di ben due EP contenenti quattro tracce ciascuno, dunque, all’interno dell’album non sarebbero state più inedite. Ecco perché in Dear Annie ci ritroviamo difronte a ben venti brani, un numero esagerato considerata la ripetitività del disco. Se lo si ascolta nella sua integrità, infatti, risulta un progetto poco interessante e di conseguenza anche le tracce più valide rischiano di passare inosservate. Musicalmente parlando l’influenza dell’ultimo Tyler, The Creator è evidente, ma il rap ed il flow di Snow è abbastanza monotono e piatto, gravando considerevolmente sulla situazione della ripetitività. Dear Annie avrebbe potuto essere pensato in maniera più furba e ridotto ad almeno a dieci tracce, in modo da poter tollerare, tra le tante cose, il contenuto prettamente superficiale dei testi. E’ un album che mette in luce un’artista ancora acerbo, ma nulla impedisce a Rejjie Snow di migliorare ed imparare dai suoi errori in futuro.

TRACCE MIGLIORI: Egyptian Luvr; Room 27; Oh No!; Spaceships

TRACCE PEGGIORI: Rainbows; Charlie Brown

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The Carters - EVERYTHING IS LOVE (Roc Nation / Parkwood, 2018)

Il matrimonio tra Jay-Z e Beyoncé è da dieci anni a questa parte uno dei più discussi tra le star mondiali. I coniugi non si sono mai tirati indietro dal tenere i fan aggiornati sulla loro vita privata e la loro musica è stata spesso lo specchio della condizione del loro rapporto. Condividendo o meno la scelta di rendere pubblici i vari alti e bassi di coppia e potendo discutere su come questa possa essere una mossa pubblicitaria per mantenere la propria fama o sia semplicemente una scelta artistica simbolo di trasparenza, la cosa certa è che spinti dal raccontare le loro crisi matrimoniali i due hanno dato vita ai loro album più personali e vulnerabili, Lemonade e 4:44. EVERYTHING IS LOVE è il loro debutto discografico come coppia, una sorta di capitolo conclusivo della trilogia che comprende i loro rispettivi ultimi album da solisti. Quello dei Carter è un finale abbastanza squallido e non perché il sipario non si chiuda su un trionfo matrimoniale, al contrario, l’immagine apparente è quella di un’unione ristorata ed ora perfetta. Il problema è che i coniugi ne parlano ostentando in ogni modo il loro status e per questo EVERYTHING IS LOVE è poco autentico e trasuda superficialità - dalla costante pronunciazione del loro amore reciproco fino al loro stile di vita fatto di moda, arte, soldi e problemi frivoli. L’aspetto più annoiante dell’album è proprio il suo fulcro, ovvero l’ossessione della coppia per la loro ricchezza, completamente distaccata dalla realtà e di conseguenza imbarazzante da ascoltare per noi meri mortali. 

Lo stravagante album inizia abbastanza bene con SUMMER, una traccia sensuale e lussuosa che celebra l’amore consumatosi durante una vacanza in un posto lontano in cui i due provano la magnifica sensazione di sentirsi soli al mondo; il brano è ambientato su una strumentale fatta di archi eleganti, chitarre e batterie soul, le strofe rap di Jay Z sono tenere ed affettuose, ma una volta messe a confronto con la voce calda e convincente di Beyoncé passano in secondo piano. Sfortunatamente il disco inizia presto a sgretolarsi e nella traccia successiva APESH*T viene messa in luce l’incompatibilità del rap di Jay Z con le strumentali trap moderne - sebbene alcune delle sue strofe siano acute e divertenti - e quando al calderone si aggiunge Beyoncé - ed i lamenti di sottofondo dei Migos - la stonatura diventa imbarazzante il doppio. La cosa grave è che l’ilarità che suscitano è del tutto involontaria e diventa ancora più insopportabile con la traccia NICE che riscrive gli stessi errori, se non in versione ancora peggiore, a causa del ritornello ridondante, a dir poco ridicolo, e della strumentale che ci prova in ogni modo a dimostrare uno spirito anticonvenzionale, ma finisce per essere soltanto fastidiosa; per l’ennesima volta Jay Z non sembra a suo agio ed il suo flow rimane rigido ed invariato, come se stesse approcciando una qualsiasi sua strumentale. FRIENDS è una specie di lenta e malinconica traccia rnb in cui i Carters dimostrano tutta la loro aberrante mentalità, descrivendo come la loro cerchia di amicizie sia ristretta - ed esclusiva - e di come tendano a non voler fare altre conoscenze; il fatto è che, tipicamente, quando un’artista scrive una canzone con questa tematica, a sostegno di essa vengono fuori problematiche correlate, come la paranoia, la difficoltà a fidarsi degli altri all’interno del mondo dello spettacolo, ma in questo sono del tutto mancanti e ciò che trasuda è che non si stiano facendo nuovi amici semplicemente perché sono altezzosi ed egocentrici. In questo senso la traccia HEARD ABOUT US acutizza le supposizioni e se non coincidesse con alcuni fattori estetici vincenti, come una strumentale piacevole e scorrevole e l’interpretazione evanescente di Beyoncé à la SZA, si ridurrebbe semplicemente ad una traccia contenutisticamente irritante. Quando gli argomenti non sono questi, gli occasionali accenni al razzismo e al sistema legale americano non durano molto, vedi BLACK EFFECT che si salva per l’impiego finalmente più creativo della produzione attraverso l’aggiunta di campionamenti. Neppure l’ambizione di 713 arriva lontano, al contrario è una delle tracce più sbagliate in cui la produzione è talmente sgradevole, specialmente col beat switch tra le batterie fuori tempo ed i synth, da far desiderare che finisca presto.  

L’intero album è un tentativo forzato e poco innovativo di colpire con brani hip-hop abrasivi ed orecchiabili, inoltre si rivela logicamente e narrativamente incoerente - ed ipocrita - in quanto se da un lato i due vogliano descriversi come Dei scesi in terra, la quale presenza è un dono per l’umanità, dall’altro ci tengono a dire di come abbiano la testa sulle spalle e vivano in maniera organica. La realtà è che per Beyoncé e Jay Z “tutto” è vissuto attraverso la lente del denaro, di conseguenza l’arte si riduce ad una proprietà privata, una scenografia, uno status symbol ed il massimo del successo è potersi permettere di avere il Louvre completamente a disposizione per girare un video musicale.

TRACCE MIGLIORI: SUMMER; HEARD ABOUT US; BLACK EFFECT

TRACCE PEGGIORI: NICE; FRIENDS; 713

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Big Red Machine - Big Red Machine (Justin Vernon & Aaron Dessner, 2018)

Nel corso degli anni i Bon Iver e The National, due dei nomi più importanti dell’indie, si erano mostrati una stima reciproca, di conseguenza la scelta di Justin Vernon - la mente dei Bon Iver - e di Aaron Desnner - il chitarrista dei The National - di concretizzare formalmente il loro rapporto d’amicizia con un album congiunto è una piacevole e naturale sorpresa. Il progetto si chiama Big Red Machine e l’omonimo primo album è fermamente ed esattamente posto al centro della linea che connette le due band, e probabilmente, è la precisione di questo crossover ad essere il fattore più limitante. Vernon ed Dessner sono entrambi conosciuti per la loro capacità di superare le aspettative approcciandovisi in maniera anticonvenzionale e mantenendo sempre le loro distintive identità sonore - 22, A Million dei Bon Iver diventa a tal proposito una perfetta testimonianza - pertanto la delusione più grande di Big Red Machine avviene quando l’ascoltatore si ritrova a poter prevedere esattamente cosa sta per succedere. 

La produzione del loro debutto è densamente intrecciata ed immacolata, il prodotto finito è un folk elettronico pieno di disciplinate intessiture melodiche sintetiche, talvolta spezzate da arpeggi di chitarra elettrica incompiuti e graffianti o da accordi di piano rassicuranti, mentre la voce narrante di Vernon è filtrata dalle sue riconoscibilissime maschere di alterazioni e distorsioni. Il fatto è che i due decidono di chiudersi in una formula fissa e quasi auto-imposta che non permette agli strumenti o alla voce di liberarsi, farsi sentire e non sempre arriva l’emozione che solitamente entrambi riescono a comunicare in maniera inequivocabile, piuttosto è più una tempesta silenziosa. Sul beat poliritmico e quasi funk di Lyla si fanno spazio le chitarre di Dessner à la Sleep Well Beast ed ad un certo punto la voce di Vernon, alternandosi col suo classico falsetto, diventa quasi rauca e fortunatamente agli impegnativi arrangiamenti si contrappongono poche parole. Forest Green è una traccia che brucia lentamente, ma lascia l’impressione di aver vissuto attraverso un sogno lucido; è forse la gemma del disco che grazie all’interpretazione con l’indimenticabile auto-tune di Vernon ed una linea di basso intensa meglio riesce ad esprimere tutto ciò che avremo voluto dai Big Red Machine, rendendo difficile non desiderare che più tracce seguissero l’esempio. Abbondano i tempi ingombranti e gli svolazzi inutili che diventano segni di riconoscimento del disco, così come alcuni dei testi più di dubbia riuscita nella carriera di Vernon come autore. L’effetto complessivo è claustrofobico e quasi disordinato. I Won’t Run From It è la traccia più pulita dell’album, una composizione corposa infusa di chitarra acustica e tromba in cui si parla del trovare la propria gioia tra le difficoltà e le lotte. Air Stryp, invece, è la traccia più confusa in cui l’abuso dei glitch diventa soffocante e stordente. Hymnostic vorrebbe dal canto suo riprodurre l’eclettismo dell’ultimo album dei Bon Iver, ma arranca con una struttura musicale non pensata al meglio e traballa particolarmente nel ritornello.

Non c’è davvero nulla di detestabile nel debutto dei Big Red Machine. Parliamo di due grandi artisti, di pilastri dei loro generi musicali, di personalità che hanno dato vita ad album-capolavori e che proprio per questo potevano dare di più: provare a fare qualcosa di nuovo, dispiegare le ali e dimenticarsi delle sovrastrutture. Purtroppo non succede e a pervadere il loro album è un senso di irrequietezza, come se i due fossero desiderosi di aprirsi su nuovi orizzonti dopo essersi realizzati nelle rispettive carriere ma rimangano inchiodati sulle loro regole. Il fatto che non riescano a sfamare i propri impulsi artistici venendovi incontro con idee fuori dagli schemi, rende l’album un boccone di dieci tracce che fatica a venire giù. Ci sono momenti in cui si riesce ad ammirare la portata e l’ambizione del disco, ma alla fine le pure intenzioni si perdono nel rumore.

TRACCE MIGLIORI: Deep Green; Lyla; Forest Green

TRACCE PEGGIORI: Air Stryp; Hymnostic; Melt

CLICCA QUI PER LA VALUTAZIONE FINALE

[endosexual]

Important (not really lol) question! What do you think I should paint on the cassette case that I'm recording the mixtape I made for you/with the songs you listed? I want it to have some nice art on it instead of it being clear like normal mwah

THATS SUCH A CUTE QUESTION!!! oh god i do i doo love clear cassettes....but maybe something simple like mandarins and mandarin slices and mandarin leafs 😩😩😩 god i love mandarins so much its my fav fruit

also ily, also 2. please put some lovely purple in there as well...maybe as like some weird squiggles or triangles but i just need the complementary tones because im ADDICTED to colour combinations..... like purple pink orange yellow OOOOHOH

maybe scratch the mandarins and put a funky little pattern on there.. wait

Sorry for the bad quality but sth like this maybe 😢😢😢

[blogquantum493]

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Review by David Jeffries

How Tha Carter III came to be 'the most anticipated rap album of 2008' is a story that involves the usual delays and promises of a masterpiece, plus a whole lot of bullet points that could only exist in the absurd world of Lil Wayne. There's his complete annihilation of the mixtape game, the ridiculous amount of guest shots he granted since Tha Carter II made him a hip-hop superstar, that photograph of him kissing his mentor, Birdman, rumors of addiction to the sizzurp, plus the gargantuan ego and aggravating aloofness (Wayne will ignore all incoming beefs and infuriate challengers even further by offering the lethal 'I don't listen to your records'). His 'best rapper alive' quote is discussed to death, but if that claim includes creating perfectly crafted full-lengths in a 2Pac style, the evidence won't be found here. Tha Carter III is instead a surprisingly casual album that takes numerous listens to sort out, and only part of a puzzle that is scattered across mixtapes, guest shots, and Internet leaks. Had he included another easy-access single like 'Rider' from The Drought Is Over, Pt. 4 -- just one of his mixtape series that made it to a Pt. 5 -- the 'classic' argument could be considered, but figuring out what to sacrifice from this high-grade jumble is difficult. It wouldn't be the electro-bumpin' 'Lollipop,' an infectious track that contains the wonderfully Wayne line 'I told her to back it up/Like burp, burp.' You certainly wouldn't want to lose key cut 'Phone Home,' where the maverick adopts an alien voice and drops 'I could get your brains for a bargain/Like I bought it from Target.' Another Weezy special from way outside the hip-hop universe comes in the striking 'Dr. Carter,' when the football reference 'And you ain't Vince Young/So don't clash with the Titan' dances on a David Axelrod sample and an unexpected jazzy production from Swizz Beatz. Giant meets giant when Jay-Z stops by for the velvet-smooth hangout session 'Mr. Carter,' and with Babyface laying the stylish swagger all over 'Comfortable,' Wayne gets the opportunity to convincingly vibe in the land of true class. Just like on Tha Carter II, Robin Thicke ends up the most complementary guest, coating Wayne's post-Katrina tale 'Tie My Hands' in warm buttery soul. As the track flows from political commentary ('My whole city's underwater, some people still floatin'/And they wonderin' why black people still votin'/Cuz your President's still chokin') to despair and onto some moving 'keep your head up'-styled verse, it proves Wayne can go deep and connect with his audience if he chooses. You can fault him for not connecting enough on the album and further complicating his unmanageable body of work with this disjointed effort, but Wayne's true masterpiece is the bigger picture and how he's flipped the script since the first Carter rolled out. Filled with bold, entertaining wordplay and plenty of well-executed, left-field ideas, Tha Carter III should be considered as a wild, somewhat difficult child of Weezy's magnum opus in motion, one that allows the listener an exhilarating and unapologetic taste of artistic freedom. (A deluxe edition with a revised track listing was also released.)

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Tha Carter V (Deluxe) is a brand new album project by Lil Wayne and it is now available for you to download and enjoy. Remember to share.

Genre: Hip-Hop/Rap

Release Date: September 25, 2020

No of Tracks: 33

Copyright: ℗ 2020 Young Money Records, Inc.

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01 Life of Mr. Carter

02 Holy

03 More to the Story (feat. Raekwon)

04 Scottie

05 F Him Good

06 Siri (feat. 2 Chainz)

07 Lost

08 In This House (feat. Gucci Mane)

09 What About Me (feat. Post Malone)

10 Hasta La Vista

11 I Love You Dwayne

12 Don’t Cry (feat. XXXTENTACION)

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13 Dedicate

14 Uproar (feat. Swizz Beatz)

15 Let It Fly (feat. Travis Scott)

16 Can’t Be Broken

17 Dark Side of the Moon (feat. Nicki Minaj)

18 Mona Lisa (feat. Kendrick Lamar)

19 What About Me (feat. Sosamann)

20 Open Letter

21 Famous (feat. Reginae Carter)

22 Problems

23 Dope Niggaz (feat. Snoop Dogg)

24 Hittas

25 Took His Time

26 Open Safe

27 Start This Shit Off Right (feat. Ashanti & Mack Maine)

28 Demon

29 Mess

30 Dope New Gospel (feat. Nivea)

31 Perfect Strangers

32 Used 2

33 Let It All Work Out

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[yumenikke]

hey followers! turning this blog into what I actually wanted it to be in the first place.

biweekly updates about the everyday life as a deep web hitman!

i’ll start out this new turn with a little rundown of my usual routine.

i wake up in bed, different hotel every week! put on my wig and trench coat and im out the door. i steal all the toaster waffles from the complementary breakfast counter and leave without a word! I get in my car and turn on my murder mixtape, consisting mostly of Bob Jovi and the Taylor Swift oldies. I make my way to the big home of a republican senator and dab in a smidge of undectable poison into his Gatorade and wait in the closet. once he’s dead, I leave, get my money, and im off to a new hotel!!!

see you all in two weeks 💜

[fairymascot]

WHY ANON (slams desk so hard it splits clean in half) I'M SO GLAD YOU ASKED

now, picturing an au where max comes to arcadia bay after five years, rachel's there, no wacky time hijinks ensue and nobody's fucking suffering:

*rachel is genuinely SO hyped to meet max, though admittedly, it's got less to do with max herself and more with what she means to chloe. like, chloe would not shut up about max the whole time she's known her, and she sincerely sounds like such a sweet girl -- but also like the polar opposite of how chloe presents outwardly now. so getting to actually meet that goofy little shutterbug nerd who's owned a piece of chloe's heart since childhood is massively exciting to her. (and of course, gleaning Top Secret childhood info about chloe from her is a great bonus.)

once they meet, rachel's pretty much instantly endeared with her: she's so small and cute and fidgety, like a little pet squirrel! she's really fun to tease and mess with, and her reactions are adorable.

meanwhile, on max's end, her first impression of rachel amber is holy mother of intimidating, batman. chloe's built her up so much beforehand, but it still doesn't compare to actually being in the same room as rachel amber. she's like... electromagnetic. and almost definitely too cool for max to be breathing the same air as her. but she's also so NICE and friendly and not mean or condescending at all. so while max was initially feeling a little sour over chloe's best friend position being filled by someone else, she can't be actually mad about it. it's kind of impossible not to fall in love with rachel amber.

*though max is a little more reserved than rachel's used to, and rachel's way cooler than max is used to, they quickly find they can get a good conversation flow going, talking about art and literature and nerd stuff that chloe tends to zone out during. rachel offers surprisingly insightful commentary on max's photography, which catches her off-guard and makes her kind of embarrassingly fluttery on the inside. 'you should take my picture sometimes,’ she says with a smile. ‘i'm looking into modeling.' 'oh! oh. okay.'

*though rachel really enjoys teasing max, she's also very good at telling where to draw the line and when to pull back. she can see max struggles a bit in social situations with new people, and she wants to make sure that her reactions stay firmly within the 'adorably flustered' camp without crossing over to actual anxiousness. max really appreciates it, and she's kind of awed by it, too -- max is always doing her best to be empathetic and tune into what other people are feeling, but her particular mix of nosinesss and awkwardness can make it hard. to rachel, it just comes effortlessly, and it kind of blows max's mind.

*max feels a little out of place in her first week or two back in arcadia bay. even though chloe has accepted her back with open arms and rachel's been nothing but friendly, she can't shake the feeling that the two of them have so much more in common than she and chloe have now -- she's just this awkward nerd girl, and maybe they're only hanging out with her out of obligation...

though both chloe and rachel notice something's up with her, rachel is the one she ends up confiding in. paradoxically, it's easier to talk about personal stuff like this with someone she doesn't know so well, especially because she's worried that admitting it to chloe would just sound like guilt tripping. rachel proves a very sensitive listener, and instills new confidence in her, too: she tells max about how chloe puts on the pirate mixtape she made her in elementary school at least once a week, and how when they passed by a heap of old toys and summer clothes at the junkyard last month, she framed it with her fingers and went 'man, max would take a black and white picture of this and and call it farewell summertime, or some shit'. 

max feels better after that.

*rachel plays two truths and a lie with max. it is, after all, a time-tested bonding exercise. as chloe predicted, max fucking sucks at this game because she cannot lie to save her ass. she gives two completely mundane truths that no one would ever suspect to be false, then pauses, stares thoughtfully at her shoes, brushes at her hair, and comes up with some shit like 'i have a pet tarantula'. ('i've been to your dorm room, max,' rachel reminds. 'well-- yeah! i mean at home in seattle! my parents are taking care of him now. he's... bad with flights.') she's surprisingly good at picking apart rachel's lie, though, and rachel's impressed with her quiet attentiveness.

'but seriously, though. we gotta teach you how to lie.'

*rachel models for max, because i mean, come on, she’s gotta. max absolutely doesn't want to pass up this chance but she's also freaking out on the inside (and on the outside), because she's never actually worked with a model before -- it's usually just selfies, sceneries and candids. she's really worried it won't come out well and rachel will think less of her for it. she also has a minor heart attack when rachel walks into her room, drops her jacket on the bed, and says 'so is this where i take it all off, or...'

(when max just stares at her in terror, she laughs and says 'kidding, of course'. and the photos turn out really nice! so. all is well.)

*rachel absolutely loves that they're the same size and exploits the shit out of this, swapping outfits with max left and right. she thinks max looks hot as hell in her clothes, and while max can't really see it herself, being praised by rachel feels good. (her clothes always smell really nice, too.) she feels awkward lending rachel her clothes in return, because she has so much style and max really doesn't, but rachel always says 'oh, shush, your style's adorable' and steals all her lame hoodies and geek T-shirts anyway. and somehow makes them look drop-dead gorgeous every time.

*rachel loves dressing max up! she likes dragging her on impromptu shopping sprees, picking out bundles of clothes for her to try on, or just showing up on her doorstep and thrusting a bag into her hands with a 'here, wear this'. she's quick to pick up on max's aesthetic, and always gets stuff that's right up her alley, but just a little bolder than she'd usually think to buy: a bit more colorful, a bit more form-fitting. max finds the experience kind of embarrassing -- she doesn't want rachel to think she's some charity case -- but she can't deny that the outfits rachel pick out look... really good.

also, rachel LOVES matching outfits -- not in tacky over-the-top ways, but stuff like complementary color choices or little matching accessories. max really gets into the accessory thing too, and starts making a habit of gifting rachel goofy little nerd trinkets to match with. i'm talking stuff like this and this and this. rachel puts every last one of these on her keychain until it's considerably more chain than keys.

*in the venn diagram of chloe and max's music tastes, rachel is the overlap. she likes all of chloe's thrashy metal and angry teen angst hymns, and she likes all of max's weepy guitar tunes and cringy pop from 2003. max admittedly never quite outgrew her seventh-grade nsync phase, and rachel is a huge slut for nostalgia shit like that, as well as a huge slut for making chloe suffer. which means that car rides with those three almost inevitably end up sounding like a middle school dance party while chloe grumbles and huffs behind the wheel the whole way.

*they have like a million geeky marathons, staying up all night watching dr who and buffy and lord of the rings. while they're both big fans of the classics, max is the more active fandom-connoisseur of the two, and introduces rachel to a ton of stuff like obscure european sci-fi films, old artsy cinema, and like a metric boatload of anime. max's taste is all over the place and rachel enjoys pretty much all of it, even the outrageously bad stuff, because she has no concept of cringe and if anything just finds the dumb shit more fun. she will enthusiastically watch final fantasy spirits within with max and not even complain once.

she loves seeing max's eyes light up during the parts she likes best, or how animated she gets when she talks about it afterwards, sharing all this background trivia and her interpretations of the stories. max is really glad for the way rachel listens, even about stuff that obviously didn't grab her as much, but sometimes she has to stop and just kind of trail off mid-sentence because rachel's looking at her like she's going to eat her and leaning in and oh.

[coolmusicstuff]

(PERSONA): who the hell am I?

I could explain to you who BTS is, but you probably already have heard of them because they show up literally everywhere. They are a 7 member Korean boyband who have proven time and time again that they are a force to be reckoned with. I have to admit, I am not an avid K-pop listener but I am a HUGE fan of BTS’s music and artistic style. They offer so much versatility as group which you can see in their most recent full-length album, “Map of the Soul: 7���

This album comprises of the second and last installment of the Map of the Soul series from BTS. The title of the album, “Map of the Soul: 7″ showcases the the number seven as their are 7 members in which they have entered their seventh year of being BTS. In their interview with Variety, they talk about the essence of the album and how came to be. 

 Their previous EP, Map of the Soul: Persona, primarily served as a teaser to the complete studio album and explored the central theme of their identity both as a band and individually. There are a total of 20 tracks that consists of a mixture of solo, units, and group songs that explore several different elements of music. From old school hip-hop to marching band/drum line inspired music, BTS showcases a plethora of styles in order to tell their stories as authentically as possible. The stories behind the lyrics left me speechless and the complementary music videos tell a tale of their own. I want to highlight a couple of songs that left an impression on me when I was analyzing the lyrics and the song itself. Check out the lyrical translation of the whole album here!

***I also want to add that visual interpretation through MVs is a BIG part of BTS’s message so be sure to check out the ones I linked below!

What is interesting about BTS’s albums is that they always have an Intro song, an Interlude song, and an Outro song that serve as different moments in each individual’s personal story. This album featured aspects of human psychology such as persona, shadow, and ego that delve into the mindsets of each individual member, in this case, the rappers of the group.

This album’s Intro song, Intro: Persona, was a rap song performed by one member, RM, in which he describes the “persona” he lives with as he became a part of the biggest boy band in the world. This song is backed by a powerful guitar chord along with elements of trap and hip-hop to give the song its edgy sound. He raps about how society’s attention towards him led him to create a “mask” that serves as his identity, but he still doesn’t really know who he is and continues to search for his soul. 

I think many young people can relate to this, I know I can, even as I write this post I can tell people will have some type of judgement towards my music taste, my appearance, the way I walk, etc. so I hide it.. I hide behind something that I created because judgement is scary while your still forming yourself. Before you know it, you become something that you aren’t and search for that sense of identity. 

Check out the visual MV below:

The next song I want to highlight is called, “Interlude: Shadow”, by member and producer, SUGA. This song is PACKED with meaning from the beat changes to the lyrics themselves. The song mainly talks about the pressure, anxiety, and excitement that comes with being a global star such as BTS. The song’s main line “Please don’t let me shine, don’t let me down” exemplifies the double-edged sword that comes with the job of being at the top as a head minority figure in pop culture.

 I think this song is his “hot-take” on his own career and feelings which feels very natural but also surprising because I never thought that stardom could make you feel different types of emotions. I could feel the weight in his lyrics and tone because it sounded like he was begging out of desperation when he sings the chorus. The song has a darker vibe to it when the beat changes in the latter half the song that is supposed to show the sides of SUGA as well as his alter ego, AGUST D (Cue music: “I’m slim shady the real slim shady”). You can check out his mixtape here! 

Also, check out the amazing MV for Interlude: Shadow as it depicts amazing visuals behind his story:  

Lastly, I want to highlight my favorite group song called “Black Swan” that is performed by all of the members and explains the “two lives” of artists in which they die their “first death” when they lose their passion in their craft. They confess about their ultimate fear of losing passion of writing and performing music as artists and the pain that comes with letting it go. I really feel this song’s story on a personal level because I think fans also fear the same thing when letting go of their favorite artists. Music is such a large part of my life and identity that it is hard to think about it leaving in a sense. 

 What is special about this song is that it featured a pre-release Art film that shows a modern style interpretive dance with an orchestral version of the song that adds to the overall meaning of the track visually. Check it out to see how you interpret it! 

Although I loved the entire album’s concept, the one song that surprisingly put me off was the title track, “ON”. When I first heard it I had to kind of decipher what kind of sound they were going for because it did not seem like THE title track for BTS. Usually, the title track is representative of the whole album but this song has something about it that doesn’t click for me. I think it is overdone, whether through the music video, marketing, or the song itself. 

It could have been a lot better if they purely focused on the sound production instead of the visuals because the song has so much potential but it feels like they incorporated dance music for the sake of performance. I’m not too sure where this song was going but the music video looked straight out of Noah’s Arc so I’m guessing a mix of biblical and marching band-ish vibes but again, it was confusing. I only listened to this song in the beginning and it really lowered my expectations for the whole album, but thankfully the album didn’t disappoint! Although the song is eh, the MV is fire:

Although I only featured four songs from the whole album, each song has a story to tell so I would give them all a listen. Personally, this album helped me get to know each of the member’s story, sound, and lyrical style in a deeper way than ever before. 

With such a diverse album, it really is difficult to pinpoint BTS’s official sound because it honestly doesn’t seem like they have one! I think this can be a great thing because they can continue to develop their music in multiple directions. However, it surprises me that they keep evolving because the concept of BTS is such a highly regarded entity that it can put pressure on making a certain type of sound that does well, otherwise known in K-pop as “idol music” or pop music in general terms. 

I think this album does its job in asking the questions: “Who am I?” and “What is my story?” BTS looked to tell their personal stories and hoped that their fans would be able to relate on some level. Targeted towards the younger generation, these songs make listeners go through tons of emotions which honestly depicts the ups and downs of life. Even though its a lot, I love it. It made me feel like I wasn’t alone when I asked that one question to myself: Who the hell am I? So thanks BTS, for making an album that makes me question my existence...in a good way. :)

[bakaity-poetry]

Göran Hugo Olsson’s Concerning Violence is the first major film to grapple with the work of the influential Martinican author and psychiatrist Frantz Fanon since Isaac Julien’s biographical documentary Frantz Fanon: Black Skin, White Mask (1995). Whereas the earlier film took a holistic, if esoteric, approach to appraising Fanon’s life and ideas (including his upbringing in Martinique, education in France and work in Algeria), the punchy Concerning Violence focuses on a specific sliver: the opening chapter of Fanon’s classic text The Wretched of the Earth (1961), in which the author posits the act of one nation colonising another as a form of pure, subjugating violence. Fanon also discusses violence – in the context of uprising and rebellion – as a means of liberation and physical, spiritual catharsis for the oppressed.

When Fanon’s book was initially published in France, it was banned almost immediately by the authorities, who saw it as a recklessly incendiary glorification of violence. This negative view was only burnished by the book’s preface, written by Fanon supporter Jean-Paul Sartre, which wholeheartedly endorsed the thesis of violence as a cleansing act and, according to Fanon biographer David Macey, overshadowed the actual work. However, as the academic Gayatri Chakravorty Spivak explains in the brief, informative contextual preface that begins Olsson’s film, such a reading fails to appreciate Fanon’s nuance; specifically, it neglects to address his anguish – rooted in the realities of his experiences in French-ruled Algeria – at the cyclical, decidedly non-glamorous tragedy of the very poorest people being reduced, and subjected, to violence.

Concerning Violence, then, represents a welcome attempt to reframe and interrogate an influential but highly contested historical text. As in his previous film, The Black Power Mixtape 1967-1975 (2011), Swedish director Olsson has raided the TV news archives of his home country and emerged with a fount of grainy, absorbing footage, presumably hitherto forgotten. He structures the material into nine chapters of varying length (the film’s subtitle is Nine Scenes from the Anti-Imperialistic Self-Defense), and each focuses on a specific struggle for liberation in one of a number of African countries, including Angola, Zimbabwe, Liberia, Tanzania, Mozambique, Guinea-Bissau and Burkina Faso; the footage dates from the mid-1960s up to the late 1980s.

Though at first glance Concerning Violence may seem almost utilitarian in its stark, unfussy formalism, Olsson puts his personal stamp on Fanon’s work. Complementary passages from the text are narrated over the images by singer and activist Lauryn Hill, whose delivery – throaty and languid, but also somehow urgent and incantatory – seems designed to evoke the alacrity of the book’s writing: Fanon was terminally ill with leukaemia when he set to work, and he composed and dictated it to his wife Josie in a remarkable ten-week spell.

For a further rhetorical, stylishly pedagogical flourish, much of the text is simultaneously imposed on screen in a white serif font. At this year’s Berlin International Film Festival, Olsson mentioned that this device was inspired by the music video for Prince’s state-of-the-nation anthem Sign o’ the Times (1987). Also notable is Neo Muyanga’s subtle score of roiling, percussive jazz, augmented by peals of muted trumpet that ring out like warning clarions. This forceful stylistic unity, added to the binding agent of Fanon’s torrentially persuasive and poetic language, ensures that Concerning Violence resounds as a far more cohesive statement than The Black Power Mixtape.

Olsson and his editing team structure Concerning Violence so that the archival passages comment on each other even as they are in dialogue with Fanon’s text. Consider two back-to-back segments near the start. With Fanon’s words, delivered by Hill (“For if the last shall be first, this will only come to pass after a murderous and decisive struggle between the two protagonists”), ringing in our ears, the film picks up with a black journalist, newly released from a five-year jail spell in Rhodesia. He speaks calmly of his realisation that, from slavery to colonialism, and up to the institutionalised racism and state-sanctioned torture in the country that would become Zimbabwe, the “black man is at the bottom of everything”; torture, he says, made him “feel indifferent”.

This disturbing, layered film is mercifully free of pat attempts to bring things up to date: chronologically speaking, it concludes in 1987. Yet there’s no doubt that its final passage – in which Europe is described as “literally the creation of the third world”, and America as a “monstrous” colonial power – is intended to give the viewer plenty to process with regard to contemporary nations still suffering the pronounced after-effects of colonisation. In many cases, Fanon’s astringent words seem as relevant today as ever.

[teoriasemserie-blog]

OPERATION MIXTAPE

The music in  ouat and in the SQ’s eps. The music actually entered the plot significantly in season 5, when Emma was in darkness. The darkness represents the closed mind, which refuses to accept its feelings and fight for what it wants, as a result the mind begins to get sick with the person, and we can say that about Emma, ​​she has totally lost herself, and seems really sick, even after supposedly leaving the darkness, because her mind goes in darkness, she continues to refuse to admit what she feels. The song appeared in The Price, in the Camelot dance, with the song "Only you", while Emma and Regina dance with their respective partners, the music plays and Regina looks at Emma exactly at the moment that says "Only You." For a person out of the darkness she needs love, a kiss of love, we saw Emma come out of the darkness through the pain, which means that she did not really come out of the darkness, she goes in the dark, and she needs love to leave , in this ep they show us that the song will help Emma to heal, and she will come through Regina. Facts that support this:

- The lyrics of Only You talk about it "all I needed was the love you gave me, all I needed for another day";

- "At the end of the ep The Price, the darkness speaks to Emma about what has always prevented the Dark Ones, and darkness places Regina as the magic capable of undoing the deeds of them, we have seen light magic does not overcome the Dark Ones, there is only one magic capable of this, the magic of true love;

- Regina was paralleled to Bella, she is the light of Emma, she is the love that Emma refuses to accept;

- All SQ eps since season 5 finale have song names;

- Henry created an operation to prevent the magic from separating his mothers and put the name of Operation Mixtape, which has to do with a collection of songs;

List of songs:

- Only you - ep 5x22

- Jessie's girl - ep 5x23

- I'll be your mirror - ep 6x8

- Colors - ep 6x8

- In my dreams - ep 6x8

- I wish you were here - 6x10

- Some day my prince will come - 6x10

- Tougher than the rest - 6x11

- Mother’s little helper

- The Song in your heart

Emma is being cured by the love of Regina and Henry and music, so let's talk about what music means to the mind, and how music can help in healing. "When you dream of a song but can not remember the lyrics it is a sign that you have the chance to find happiness in your hands. This, however, will depend solely on you and your dedication to happiness. Fight against everything that goes against your success, but without going over anyone. Allow yourself to live happiness without guilt. "

"When you dream that you are singing a song, this indicates that you will soon feel very happy to the point of expressing this happiness so that everyone knows and can feel this moment with you. When you sing, you waste happiness without fear, so the dream is also a way of saying that you should be happy without fear."

"The dreams in which you see yourself listening to music are a sign that you will experience many relaxed and adventure-filled moments. Get ready to live a fun you've never seen before, coupled with unique experiences. Enjoy the opportunities that life will give you to live happiness, joy and relaxation, and do not be afraid to take a chance. "

Dreams are made up of symbols and are the language of the unconscious. They communicate to the dreamer everything that is necessary to seek the balance of the psyche as a whole, so the symbols speak as much about questions of the conscience as of the unconscious, that is, of the psychic totality. For this reason, exploring symbols is an essential part of understanding a dream.

WHAT DOES MUSIC SYMBOLIZE?

Music, although it is a mathematical construction, with bars, arrangements and rhythm, evoke the most diverse emotions and are capable of changing the mood of the listener, whether for better or for worse. Such a trait would not be different in a dream.

The kind of music one hears in a dream is fundamental to understanding what the unconscious is exposing to consciousness. A quiet, unsung melody is certainly a rather different symbol of heavy metal with a guttural vocal as well as the feelings each one evokes.

POSSIBLE INTERPRETATIONS

The type of music evidenced in the dream is crucial information when it is the most prominent aspect in the dream scenario as well as the context in which it arises. To make this assessment, it is important to look at the presence or absence of a letter and what it says.

The fast or slow rhythm may indicate the dreamer's own psychic or emotional rhythm. There is no rule, since the feelings evoked are absolutely personal and variable from person to person, but we can make some more general and uncompromising considerations.

Heavy metal can evoke anger, aggression, an active and charged discharge of energy. They can also be melodic and deep. Classical music may evoke greater mental organization, nostalgia, and joy. They can also be chaotic and dissonant.

Sung songs need to have their lyrics analyzed. Romantic letters, sensual letters, letters of protest, religious, disappointed, cheerful, childish ... Each of them should be contextualized in the experience of the dreamer.

Step one: reflect on the context of the dream.

What music does the dream present? Is it known or unknown? What emotions does it evoke? In what context does it appear? Is it information that stands out in the dream or is it just a backdrop to more important events? Is it information that stands out in the dream or is it just a backdrop to more important events?

Step two: reflect on what the unconscious may be signaling

What pace is setting your emotional life? What kind of melody do you emanate from yourself?

So we have eps in which Emma and Regina try to save each other and their son, eps with romantic songs, and songs that talk about jealousy and the possibility of love, what could that mean? Emma and Regina are in love, and this is the path they refuse to take, out of fear and other issues. So we have the curative element, in these eps Emma seems better, more like her, seems more alive, because Regina is helping her to heal.

Music therapy is the proof that sound is intimately connected to emotional states, since music evokes memories, experiences and experiences of the most diverse.

Often tired of current medical treatments, where it is often felt as a mere number on long waiting lists, which comes out, in most cases, with a prescription for these or other pills that cure only the symptoms of a deeper evil , man now turns his gaze back and seeks those therapies of the past, where man was fully man, where his illnesses were considered to have a malfunction of something within the body as a whole (which today we call it the holistic view of man). From this point of view, it is understood that often a disease, before manifesting itself physically, is formed in the invisible planes, to then descend into the material world and become, as an inflammation of the liver, a heart attack or stomach ulcer. This is where the so-called Alternative Medicines have their great field of work and where music therapy in particular also finds its special application, because it works with elements that Orthodox Medicine is often unaware of.

The whole Universe, to the Hindus, is based on sounds, and if we contemplate the world around us, we can perceive that everything corresponds to resonances, to certain wavelengths. Thus, too, the cells of the organism are sensitive to certain wavelengths, and therefore to certain sounds. Therefore, it is understood that, for example, ancient Chinese medicine would have a whole system of correspondences between musical scale notes and organs. The secret of healing was to maintain the balance between the two complementary forces of nature, the "Yin" and "Yang," and in the case of illness, to re-establish the loss of vital energy.

Healing, according to the Chinese mentality, consists mainly in eliminating the obstacles that impede the flow of energy, in re-establishing the balance of man. This can only be achieved through an integral formation of man that allows to achieve a balance between the Yin and Yang and an unimpeded flow of the energy that is in the human being. When this is actually achieved, there will be no such problems of physical and psychic infirmities, and man will be able to establish that inner harmony which enables him to express his true Self.

It's Regina who helps Emma to come back to herself, to be true, Emma's super power only works fully with her, we saw Regina being the one who put the piece of the mirror in the place in the world of mirrors, and we saw how much Regina has helped , worried and tried to save Emma. And they look exactly like yin and yang in all their narrative dynamics, and in the desire ep, "I wish you were here," they hold hands, and form the symbol yin and yang literally, showing that they are beginning to find balance.

ONLY YOU

Okay, I do love this ep, its all about how Emma and Regina can’t be together because they need protect Henry. The magic whats tearing they apart are religious and conservative thoughts, thats why we have a crystal what cames from a God. If they assume what they feel they are going to have to expose Henry to this, and to the judgment of the others, Regina was losing control of her feelings, which in fact are their feelings, the end of this ep that is double is in The untold story, which takes us to Regina taking away Evil, what different than everyone thinks is not the bad part of her, but the feelings that neither Emma nor Regina want to face, this thing with true love having to be reciprocal makes sense in the feelings to be of both. Later in the ep Stranger Case, we see that what the serum takes from people are the feelings they do not want to face, romantic feelings, Rumpel wanted to take away the feelings he had for Bella, but he saw that taking away the feelings did not solve anything because the only way to get rid of feelings is to die. And you know what Evil did when she was free? She spent half a season trying to expose Hook, even alerted Henry that Hook had the scissors and would to use it against Emma, Hook is the dark thing in Emma’s mind, what she holds for dont give in what she really wants. There is no way to be clearer than that. 

I’LL BE YOUR MIRROR

In addition to showing how Emma and Regina are literally the yin and yang of the narrative, because the mirror reflects its opposite, shows the battle of the mind, between what it wants and the balance. What the mind wants is beyond family, is to have a relationship too, Emma wants to have this relationship with Regina, in this ep Henry represents the mind having to decide, between his mothers, or the life of the Dragon, which represents the balance. Sometimes we want something so much, but it's not the time, and force it will make us lose our reason and the good things. In the end Henry tries to keep both balance and relationship, so Emma and Regina come back, but we see Hook threaten Evil, showing that Emma will still keep her feelings contained. She needs wait and put her son first. 

I WISH YOU WERE HERE

This is one of the best eps that ouat did in seasons. And it is very clear about the feelings of Regina and Emma. Regina is the person Emma wants to be there, is the person Emma wants to be in a relationship, and so she is the Emma’s prince, ​​who comes to awaken her mind, and make her come back to herself. At wishland, Emma was a poor version of herself, childish, submissive, who still needs the help of her parents for everything, even as an adult. She makes a wish in a parallel with Emma's first wish in Season 1 which is the gear that moves everything in the plot at the beginning, it's Emma's desire that brings Henry to her, and she wished she was not alone anymore, she wanted a family. And now we see the second part of that desire, it's not just Henry that she wants as a family, that includes Regina as well. And Regina wants to be with her too, so there are two wishes in that ep, which shows that their feelings are reciprocal.

THE SONG IN YOUR HEART

The song in your heart is a biblical reference, about God acting in the life of the person, about living fully and happily, but many people mistaken about what God wants for their lives, the Catholic religion is super conservative, and believes that man has to stay with the woman, and there is no love beyond that, besides believing that the woman should be submissive to the man. 

This ep shows exactly that Emma is stuck in these conventions, and she is not happy but she is trying to do what she was taught to be right. We see the song "Love doesn’t stand a chance," and its sing for Evil what is Emma's ID, her wishes, and her desires are not happy, its being forced to say what it does not want, and sing, and acting like it does not want to, that's the real situation of Emma, while the Charmings, who represent Emma's Superego, are trying to contain their desires, making it acts as they wish. The magic that reaches everyone and makes them sing comes from Blue, who is a nun, and represents the religious inflections.

Now Emma will take a break, but the music keep coming. We have Roni’s name what means song of joy, what is a biblical thing too, this means that Regina is the real song in Emma’s heart, and also Emma looks to think Reginas a gif of god to her. We have more songs, and I can bet, Emma will be back soon, and get what she really wants.

List of the new songs or things linked to music:

- Greenbacks;

- A pirate’s life;

- Wake up call;

- Pretty in blue(whats about a man who loves someone whos dead, a sleeping beauty whats pretty in blue);

- Lucy (what is a reference to Lucy from Beatles, and the song is a reference to Alice through the looking glass);

And, thats all. 

Links: 

http://www.nova-acropole.org.br/…/a-musica-e-seu-poder-cura…

http://www.personare.com.br/o-que-significa-sonhar-com-musi…

https://www.meusonhar.com.br/sonhar-com-musica/

[kingshabazz01]

What's good everyone?! So the time that we've all been waiting for has finally come! After all the talk the last couple of years, the "Dangerous Era" mixtape will finally be released on April 24th! It will feature legendary bars from @lextheconartist & @theliambrand05. Now, I bring this project to you with not only music, but a complementary Lyrical Manga that was drawn by yours truly. This also is why it took so long as it was the first time I created something like this. In essence, the digital version of this project drops on April 24th. However, if you ordered physical collectors items, please be mindful of the delays due to the current global pandemic. Luckily, in addition to streaming the music on your preferred service, I've teamed up with @tokyopop & their online platform called "PopComics" to allow you to read the Manga for free while you stream the music. So mark your calendars for April 24th. If you plan to check out the project, please let me know in the comments below 👇🏽 👇🏽 👇🏽 - - - - - - @superherostuff - Get your favorite Superhero merch - https://thekingshabazz.com/superherostuff @rightstufanime - Get your favorite Anime merch - https://thekingshabazz.com/rightstufanime @distrokid - Get 7% Off to distribute your music - https://thekingshabazz.com/distrokid @m1_finance - Get $20 when you invest - https://thekingshabazz.com/m1finance #Mixtape #Manga #streaming https://www.instagram.com/p/B_F7nI8jEY6/?igshid=jbd4lotbta62

[ramajmedia]

What Christina Milian Has Been Doing Since AM to PM | Screen Rant

What has Christina Milian done since releasing her breakout debut single "AM to PM" in 2001? The actress and musician stars in the 2019 Netflix romantic comedy Falling Inn Love, but a lot has happened over the past two decades.

In 1999, Milian landed her first movie roles in The Wood and the teen comedy classic American Pie. She then starred as Tina Flores in the Disney Channel series Movie Surfers. As the 21st century began, though, Milian wasn't necessarily a well-known pop culture figure. That all changed when she landed a guest vocal spot on Ja Rule’s 2000 single "Between Me and You" and released her self-titled debut album for Def Jam Recordings. During the summer of 2001, Milian's lead single, "AM to PM", became an international hit, and was later featured in the 2002 comedy The Hot Chick.

Related: Falling Inn Love Trailer Teases Netflix's Latest Romcom

Milian may be a well-known singer, but she hasn’t released a solo studio album since 2006. For her 2004 sophomore release, It’s About Time, Milian signed with Island Records and landed another huge international hit with “Dip It Low.” The complementary music video, directed by Matthew Rolston, further elevated Milian's visibility. She also starred opposite Nick Cannon in the 2004 comedy Love Don't Cost a Thing and portrayed Nina in Joseph Kahn’s racing film Torque. Unfortunately, neither of those films were box office hits, and Milian was later dropped from Island Records after the 2006 release of her third studio album, So Amazin'.

In the past decade, Milian has been all over television. She served as The Voice’s social media correspondent, competed in ABC’s Dancing with the Stars season 17 and starred in her own E! reality series. Milian even voiced the character Esther on Fox’s Family Guy. During the past five years, Milian has become more associated with her on-screen acting performances rather than for being a recognizable voice (or being the former girlfriend of musician Lil Wayne).

Now, Milian is probably best known for her role as Christine Parks in Sony Crackle’s crime series The Oath. Looking to the future, Christina Milian has a huge opportunity with Netflix, as she’s not only starring in Falling Inn Love but also landed a role in the upcoming music-themed series Mixtape.

More: 25 Best Movies On Netflix

source https://screenrant.com/christina-milian-after-am-pm-movies-tv-songs/