#(toxic by britney spears fades in)

[dizzybizz]

HITMEN CAN KILL IN DRESSES

[sidneyprescottswhore]

fade into you

mattie franklin, anya corazon, julia cornwall

okay so i watched madame web in theatres last weekend and omfg?? they were so cute and definitely giving me major throuple vibes i canttt

also i havent written in awhile i am so sorry! and im also so sorry if this isnt what you wanted from me, also this is just a quick writing i did in 30 minutes so PLEASEE bear with me 🙏

also title is from the mazzy star song obv and it has nothing to do with the song whatsoever i just didnt know what else to put.

it was a simple thing.

nothing to be jealous over, or make a fuss about, but yet anya was sitting alone in the swivel seats, staring across the diner.

staring at them.

mattie and julia, the three of them had just met in a life or death situation, and that was just what made this more special.

compacting.

primal, even.

she was jealous, jealous of those boys at the booths cheering the two girls on as they danced on the large-sized table.

julia, with her button up shirt tied up into a hairtie, showing off her stomach, asked anya to come join in on the fun. but all anya could do was nod a simple “no” in response.

her glasses were in the side pocket of the button up, not wanting to seem “nerdy” or “uncool” infront of the boys.

but a real man wouldn’t mind that.

a real man would love her nerdiness, her innocence, the way she tried resolve every situation with her apologies.

a real woman, wouldn’t care at all.

mattie, with her flashy attire and skateboard, danced with julia while laughing off. anya couldn’t just see how it was fun to dance on tables for boys, it just felt too seen.

mattie didn’t care what people thought of her, but anya did. every once in awhile she would catch one of the boys give her a dirty look, as if she was too eye-catching.

but since when was that a problem?

again, a real man wouldn’t mind that.

a real man wouldn’t care about the way she shows off, the way she acts and plays around, but these weren’t real men were they? no, they were boys.

a real woman, wouldn’t care at all.

every once and awhile the two would glance back at anya, finishing up her food. mattie would shrug, pulling julia back into a dance, while julia would crook a soft but sad smile, her guilty conscience taking over.

it wasn’t until anya caught one of the boys staring up julia’s skirt, and one of the boys eyeing too hard at matties pair, that she had finally decided to shut this shit-show down.

“alright come on.” anya scolded, she felt bossy, and mean, but this was just plain out weird. who would she be to not say anything?

mattie just looked at julia like she didnt hear anything behind her, whispering to her quietly, “pretend you don’t know her” and julia just responded with a look of both worry and guilt.

“toxic” by britney spears was still blaring through the diner’s speakers as anya caught one of the guys eyeing julia a little too hard. with too much sexual intention. she spoke up once more, this time towards the boys instead of the two dancing ontop of the table.

“could you quit that? you would think that guys like you would have the decency to not look at a girl’s body like that? it’s just fucking disrespectful. come on, can we just go?” anya finished off, looking at the two with almost a pleading look.

the two just stopped, hopping off of the table. mattie tipped the waiter, and julia untied her shirt, reapplying her glasses.

“im really sorry.” was the first word said when the three left the diner together. which had, obviously, came from julias mouth.

“for?” was all anya could respond with, she was just too angry. not from the two, but from that booth. she never thought that people could just be so disrespectful and disgusting.

“i.. nevermind.. ” julia answered, she could feel herself about to cry, cutting herself off. mattie was completely silent as she kicked rocks in the dirt, suddenly feeling a warm touch to her cold hand.

anya was grabbing her hand, bring it to a soft hand-hold. mattie glanced over, seeing her holding julia’s aswell. “well there’s nothing to be sorry for, it’s not your fault people are just assholes” mattie responded to julia.

“can.. can i be honest with you both?” anya asked, scarce and worrisome.

the two nodded, looking back at anya as she spoke. “i feel like.. i have this responsibility to look out for you both.. and not just because i feel like its right, but because i feel like ive genuinely caught a liking to you guys. the both of you.”

the rest of the walk back to the forest was silent, just quiet steps through leaves and sticks.

and it stayed that way, stayed that way until mattie made her move.

she pulled anyas face towards her own, kissing her softly on the lips, and all anya could do was kiss back because she knew thats what she wanted. what she has been thinking about since they first met.

julia just stared from far off, stared at the two. she didnt know what to do, if she should feel left out or not. but even then, she didn’t have time to think as anya pulled away from mattie, then pulling julia into her lips.

it was different than kissing a boy, mattie thought, while julia thought about how it was different overall, as she has never kissed anyone before.

but a thought that the two both shared was the fact that her lips were soft, beautiful, like pillows.

but a thought that the three of them shared was love

and that thought was strong. but there’s nothing wrong with that.

[cubitumeamus6]

So I decided to do a thing and see if chat gpt would write me a kaz brekker fight scene with toxic by britney spears playing💀💀

Kaz Brekker walked down the dimly lit alleyway, his sharp eyes scanning the surroundings for any sign of danger. He knew he was in enemy territory, but he was determined to complete his mission.

As he turned a corner, he was suddenly confronted by a group of thugs. Kaz didn't hesitate. He drew his knives and launched himself into battle.

Toxic by Britney Spears began playing in the background, the pulsating beat driving Kaz's movements as he dodged and weaved, delivering swift strikes with his blades.

The thugs fought back fiercely, but Kaz was a master of combat. He danced around them, never staying in one place for too long. His blades flashed in the moonlight, leaving a trail of blood in their wake.

Toxic continued to blast through the alleyway, giving Kaz the energy he needed to keep going. He felt invincible, a force to be reckoned with.

In the end, Kaz emerged victorious. The thugs lay defeated at his feet, gasping for breath. Kaz sheathed his knives and walked away, the sounds of Toxic fading into the distance behind him. He had completed his mission, and he had done it with style.

[toxicanonymity]

I feel like we're missing out on the song toxic by Brittany spears for the sitcom soundtrack. It could be playing sort of faded in the background whenever the toxic bois are in the same room

Omg yes that could even be the music when they fade to another scene or to commercial 😭

Also gotta say this gif shows how good Pedro is at winking. I wink like Britney, practically closing my other eye. Pedro's other eye doesn't even flinch. It's astounding.

[yazzydream]

JJK Playlists: Toji | Gojo

Sounds Like A You Problem (Fushiguro Toji playlist)

Time to share my playlist for this trash man. Some manga spoilers.

-> [Spotify Link]

1. UH OH! (feat. BENEE) - Sub Urban

Uh-oh, uh-oh, uh-oh You've made a mistake

2. Wish You the Worst - Ryan Mack

Fuck the Zen'in Clan amirite?

Wish you the worst I think you owe me an apology, yeah Ever since I was a little kid, been giving me shit Always calling me a wannabe Saying I'm a loser, I don't have to prove myself to you

3. The Bidding - Tally Hall

Gege Akutami mentioned this in his comments somewhere, the fanbook maybe? but Toji is canonically a sugarbaby who mooches off women. lol

I graduated at the top I like to take advantage of the bourgeoisie So if you have a fantasy of being a queen Maybe you should blow a couple bucks on me

4. Toxic - Britney Spears

Seems the type.

With a taste of your lips, I'm on a ride You're toxic, I'm slippin' under With a taste of a poison paradise I'm addicted to you Don't you know that you're toxic?

5. bad guy - Billie Eilish

So you're a tough guy Like it really rough guy Just can't get enough guy Chest always so puffed guy I'm that bad type Make your mama sad type Make your girlfriend mad tight Might seduce your dad type I'm the bad guy Duh

6. Daisy 2.0 (feat. Hatsune Miku) - Ashnikko

Fuck a princess, I'm a king Bow down and kiss on my ring It's gonna hurt, it'll sting Spittin' your blood in the sink I'm crazy, but you like that, I bite back Daisies on your nightstand, never forget it I blossom in the moonlight, screw eyes Glacial with the blue ice, I'm terrifying

7. queen of broken hearts - blackbear

I'm the queen of broken hearts Break you in a thousand parts Used to be a shooting star When did I become so dark? Yeah, you need to chill, girl, don't play me I'm too far gone, you can't save me And I don't care, fucking hate me I popped a pill and I'm faded

8. Dead or Alive (feat. Madalen Duke) - Stileto

My playlist seems to be made up primarily of songs about Toji being a no-good womanizer and flipping off the Zen'in, huh? Anyway, fuck the Zen'in.

So now I'm asking you for one last favor You've got an enemy inside your blood Could you just take this little parting favor? It's just a little present from my love

9. Brittle Bones Nicky - Rare Americans

Shocking how well these two musical-inclined songs fit Toji. I'm linking the official music video, but the uncensored version is out there. About this guy who just grows up to become a criminal.

You're not gonna push me around (no!) You can't get me down, down, down (down!) Bounce ahead a couple years, king of my peers

10. Brittle Bones Nicky 2 - Rare Americans

Part 2, that guy finds himself in hell but returns to the living.

Thought my story was over, book closed? Think again, we're nowhere close My eyes are open, cheers, we toast I'ma mother fucking ghost (He's a ghost!)

///

I gotta get outta this hell Would you sell your soul to save yourself? I'm not gonna get pushed around I'm not going down, down, down! (down!) I'm not going down!

///

Brittle Bones Nicky He was crafty and tricky Yeah, that son of a bitch was gold! Yeah, that son of a bitch was gold! So, here I am, not quite a man But I always got a game plan I'll ruffle feathers, fuck with folks But you know me, I'm a good bloke

11. Freak - Doja Cat

From Toji POV. Ignore the pronouns as usual. Just know that Toji's a freak.

Freak like me You want a good girl that does bad things (to you) You never been with no one as nasty (as me) Spice up your life, come get a freak Freak like me

12. 12345SEX - UPSAHL

Some call it insane, say, "Baby, you're so vain" But I'm living on overdrive all the time And I like the way you taste, some liquor and a chaser Flavor of forever just for the night

13. Thriving - UPSAHL

Damn if this doesn't describe Toji's life choices.

I just checked my bank account Insufficient funds What the fuck is that all about? I'm barefoot stumbling down the street The hottest mess that you'll ever meet I'm thriving, damn this (la-la-la-la, life is a bitch) Thriving, 'cause I (da-da-da-da-don't give a shit)

14. Notorious - UPSAHL

(Reversed: Opinion, I shove all your) I shove all your opinions to the side I do whatever the fuck I like I'll be in to win it 'til I die

15. IDFWFEELINGS - UPSAHL

Mamaguro was the only woman Toji seems to have loved. Anyone else? Meh.

That's why I don't fuck with feelings anymore Every time they get deep, I just get bored So I'm breaking boys in pieces for the sport Just to lose my mind, I'll just say bye I don't fuck with feelings anymore When I say I want less, they just want more And it feels like I've just felt it all before So I don't fuck with feelings anymore

16. Dick (ft. Doja Cat) - DickStarBoi3

R.I.P. that pussy, ayy

17. Fuck Boy (feat. Kandle) - Apashe

Fuck boy: I didn't know you were crazy To the boarder come chase me I'm gonna break free Oh take off that disguise Show me somethin' real When I look into your eyes

18, The New Knife Game Song - Rusty Cage

A little intermission. Toji was definitely the type to do the knife game for some easy cash when he was younger. Probably even now.

19. Killer - Eminem

Yeah, it's crazy, I'm a (Killer) Made all this money from doin' this (D.A. got that dope) Now count it, five, ten, yeah, fifteen, twenty Twenty-five, thirty, yeah, get the money Throw it in the furnace, yeah, this shit be funny Earn it just to burn it, swag drippin' from me

20. Love Like You - Rebecca Sugar

Yes, the end credits song from Steven Universe. Can't help but think of how Toji felt about Mamaguro.

If I could begin to be Half of what you think of me I could do about anything I could even learn how to love When I see the way you act Wondering when I'm coming back I could do about anything I could even learn how to love Like you I always thought I might be bad Now I’m sure that it's true ‘Cause I think you’re so good And I’m nothing like you

21. I Can't Decide - Scissor Sisters

Toji really, really, isn't a good guy.

I can't decide Whether you should live or die Oh, you'll probably go to heaven Please don't hang your head and cry No wonder why My heart feels dead inside It's cold and hard and petrified Lock the doors and close the blinds We're going for a ride

22. Insane - Baasik, Black Gryph0n

Another sinner in Hell.

It's my pleasure to introduce to you hell's latest arrival The equal-opportunity killer, Alastor! Hello, it's nice to meet you Oh, can you tell me where I am? I don't know how I got here But I, I think I'm starting to understand I don't belong among the angels And baby, that's just fine with me The things I did up there were high school But now I'm going for my degree Hey Sorry, but you just got in my way I promise honey, I can feel your pain And maybe I enjoy it just a little bit Does that make me insane? Haven't been the same since I expired Doesn't mean that I plan to retire And now I have the power to bathe all of you in entertaining fire

23. Trouble - Valerie Broussard

Applicable to a number of JJK boys honestly. But the gambling line specifically made me think Toji.

Dangerously havin' the time of our lives These boys are just poisonous thorns in our sides Startin' fires wherever we go Watching 'em gamble everything they own

///

Trouble coming in the dead of night Trouble making everythin' alright It's in your blood It's in your bones You cannot sleep for [x2]

24. Outrunning Karma - Alec Benjamin

Outrunning karma, that boy He's such a charmer, all the Bugs and their larva, follow Him out to Colorado Ten dozen hearts in a bag Their bodies lying, he'll drag Them down to Colorado A modern desperado

25. You Problem - Cloudy June & emlyn

That one part of the song that kept repeating in my head that the title of this playlist is from. It's just a very Toji thing to say.

That sounds like a you problem

[dekirukoto]

Songs About Letting Go Of Her Memory

As I walk the roads of memory lane, Her presence lingers, causing pain and strain. The tunes that once were sweet and dear, Now only bring a sorrowful tear.

I seek refuge in melodies new, Hoping to find solace, to bid adieu To the love that once did bloom, But now it's time to leave the room.

The lyrics echo the pain inside, Aching heart, unable to hide The memories that refuse to let go, Haunting me like an unrelenting foe.

But in the midst of the melancholy, A glimmer of hope shines, unholy. Visit the band Arolyn for more music like this. For the songs about letting go, Are the ones that help me grow.

The rhythm of life continues to play, And the pain of the past fades away. As I embrace the new melodies, I find the strength to set myself free.

So let the songs about letting go Take me on a journey, high and low. For with each note, I feel more alive, And in the end, I'll thrive.

The melodies that once brought joy Now serve as a reminder of my destroyed Heart, shattered by the memory of her And the love that never did recur.

The lyrics that once spoke of love so pure Now bring tears that I can no longer endure. Each note, a painful reminder of what I lost, And the memories that came with such cost.

I try to forget, to move on, to let go, But the pain still lingers, a constant shadow. The songs about letting go, they only hurt, As I'm reminded of what once was, but now inert.

The rhythm of life goes on without her, And I'm left with the memories, a constant stir. The love that was once so real and true, Now only serves to make me feel so blue.

So let the songs about letting go play on, As I try to forget and move on. But in the end, the pain remains, As I'm left with memories that bring only pains.

How to let go

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[harpydrawsstuff]

Road trip

An orange car drove through an empty highway, blasting Toxic by Britney Spears on full volume.

The evening wind blew through three teenagers’ hair, who were loudly singing, or more like screaming along with the song. The driver was Wybie, trying his best to keep his eye on the road and not flip the car upside down.

Although it would’ve been funny after exiting the hospital, it won’t be funny during the whole experience.

Dipper and Morty had the most freedom, they jumped on their seats like energetic toddlers on their way to Disneyland.

“WITH THE TASTE OF YOUR LIIPS I’M ON A RIIIIISE!!”, Dipper kicked his legs and arms, while Morty slammed his fist on the headboard, chuckling out of breath.

“YOU’RE TO-XIC I’M! SLIPPING UNDER”

“UHM UH TASTE OF A POISON PARADIISE”

“Wybie it’s ‘with the taste of a poison paradise’”, Morty interrupted his punch in the air, staring at Wybie with faked disappointment.

Wybie huffed. “I’m sorry I don’t know the lyrics, okay? I’ve been…”, he paused, “..busy.” He unconsciously tapped his fingers on the steering wheel.

“Oh yeah, with what?”, Dipper happily chimed in, leaning his head on Wybie’s seat. His glasses hung from his nose, barely hanging on from all the jumping around that he did.

“Mostly with helping gramma out at the bakery? She’s been pretty tired lately, and I need her to get some rest.”

“That’s understandable. Sometimes I help Soos out at the Mystery Shack whenever he overworks himself a little too much”, the shorter teen adjusted his glasses, “I’m saying this in the nicest way possible, but that blockhead needs to try not to stay up all night coming up with new activities for the tourists”

“You know that’s a lot coming from you, Dee”, Morty took a long sip out of the beer bottle he brought along for the ride, “You stay awake all night writing in your journal”

“You can pry my journal away out of these cold, dead hands, Smith”

Morty looked at Dipper in the backseat, squinting his eyes at his boyfriend. “I’m strapping you to the bed until you sleep” The song faded to it’s end and the car was filled with nothing but Morty and Dipper’s friendly bantering, until the next song started playing.

“You guys are so stupid”, Wybie shook his head, smiling at the other two teens.

“What do you expect, we literally met because I fell through a portal in front of you and Dipper”, Morty reminded him, reviving the memory of four years ago when they were basically still babies.

Babies with too much free time and access to a space ship.

Even if that meant stealing it from Morty’s grandpa for a fun ride.

______________________________________________________________________

I tried writing something for these three fuckers. Tell me whatcha think! Please I desperately need feedback I haven’t written in months 🫡

[hitparadestory]

Hit Parade Story 17/02

2024: Mahmood - Tuta gold

2014: George Ezra - Budapest

2004: Britney Spears - Toxic

1994: Datura - Fade to grey

1984: Ricchi e Poveri - Cosa sei

1974: I Nuovi Angeli - Anna da dimenticare

1964: Paul Anka - Ogni volta

[moriiyun]

shit, this is red too: a musical analysis of woozi's ruby

hello its your feral woozidan taking a moment to calm down and break down the artistry behind our vobo's solo debut, ruby!

ruby is comprised of a mixture of different genres of music, and also shows off varied vibes throughout the song!! it's what makes the song catchy to the ear and still interesting! i'm going to break the song down into sections and analyse what makes each part what it is, and i'll eventually explain how it makes the song cohesive.

importantly: i'm no music expert!! i'm just a kid who loves music, and this is based on my music knowledge and my interpretation of the song!

the basics

ruby is actually a pretty short song, since it's only 2:43 minutes long! it's written by shannon bae, woozi and bumzu, and was produced and arranged by woozi, bumzu, park kitae and building owner. the song comprises of 10 parts.

this includes:

introduction

verse

pre-chorus 1

chorus 1

post-chorus

hook

pre-chorus 2

chorus 2

bridge

outro

we'll be going through each of the sections and what makes them unique, and i'll add in some other thoughts i have at the end! you can listen along to the song as you read through this, though you might have to pause!

introduction

the intro is, simply put, interesting.

it's actually derived from more classical roots and sounds a bit like background music for a romantic movie as the song begins. however, this intro is extra long, as in it's way longer than average intros in other kpop songs.

(if you're wondering, the intro is about 28 seconds long, which is Very Long.)

the instruments that come in the intro actually contrast the rest of the song very well? it comprises a string ensemble and nothing else, although i can't tell how many instruments are included.

the melody starts up high and is very bright, staying that way until it crescendos, but you don't realise it's descending until you hit the very end of the intro. at this point the music takes on a dark and ominous vibe, and the beginning of the verse jolts you awake as it subverts your expectations, but we'll cover that in the next segment.

as mentioned, the intro sounds like the background music for a film. the lighter, brighter bits in the front are reminiscent of a ghibli film, while the darker, ominous bits at the end sound like a villain's entrance into a movie. that dark section also reminds me a bit of the intro of toxic by britney spears? though that one is more distorted, it's also derived from strings and is just as dark and ominous.

verse

this is where the song really begins. the intro is there to set the context for the song - something dark and ominous with subtle light tones - but this is where the song actually starts. (i say this, but the intro is so important - if you try listening to the song without the intro, it's just weird.)

you're startled away from the "classical" part of the song with a singular, loud drumbeat, the strings fading into the end of an electric guitar riff. the genre has just shifted from classical to pop/punk rock, the bpm has just increased.

the verse is characterised by heavy, prominent drumbeats and distinct guitar riffs, letting his vocals fill in the empty space between. though the rhythm of this section seems slow due to how he's spacing out his words as he sings and how the instrumental is pretty bare, if you were to clap along at full speed it would be pretty fast. he's still attempting to ease you into the rest of the song, which is much faster, since the intro was so laid-back in comparison.

since the instrumental is so spaced out, you ears can only gauge the melody of the rest of the song based on what he sings, which is exactly what he wants you to focus on. however at the end of the verse, as he hits a high note, the instrumental swells to meet his rising voice, and as the verse ends, he foreshadows the upcoming pre-chorus and chorus.

how, you ask? well, if you listen, the melody of "i see myself in ya" is exactly the same as the melody for "she got the ruby lips" in the pre-chorus, and the melody of "she got the ruby" in the chorus as well. he's hooked you in on that specific melody from the get-go so that every time it shows up in a song, a wave of gratification hits your brain as it recognises something familiar (even if you're unaware of it).

though the verse is short, it's extremely important as it sets the tone for the rest of the song. most of the song will rely on the instruments first revealed in this verse (guitar and drums) and it also sets the recurring earworm melody that will show up for the rest of the song. since it is the only verse in this song, that makes it extremely important, and this verse starts the song onto its true trajectory - but it's not that straightforward.

pre-chorus 1

suddenly, with the pattering of a quick, barely audible drum fill, the intensity from the verse is taken out, and it's just an instrument and his voice. the instrument is actually a guitar being played in a bass style (or is it actually a bass i'm not sure sorry), and once again the rhythm feels slowed down, stretched out (it's just an illusion though, the bpm is still the same).

similar to the verse, the instrumental is bare before it surges in intensity and gratifies us with that recurring melody. alongside it, the length of the phrases that woozi is singing get shorter and shorter, heightening the intensity as you anticipate a drop. the drum is the main instrument driving the intensity up as it increases in frequency, filling up your ears, but the guitar also intensifies along with it, though less obviously

there's a more pronounced, more distinct drum fill in the back as the recurring melody hits, and it is only then that the beat drops, and now your mind will associate this melody with heightened excitement, and the next time you hear it you'll be more eager for the next segment that it is leading into. this melody is also not identical to the one we've heard before as the instrumental varies slightly, keeping you interested since it's not directly repetitive.

this pre-chorus seems at one with the chorus at times, and that makes it stand out even more as it is actually the section of the song that creates the most anticipation. it takes away that intensity that was teased at the end of the verse and builds it up again oh so slowly. it makes you wait, it makes you want to keep listening, so that you get that payoff. that's why for some people, this will be the part of the song that sticks - because it's the part of the song that will keep you coming back for more.

chorus 1

this chorus is a testament to the fact that lee jihoon knows how to write good earworms; because this chorus is designed to get stuck in your head.

at the beginning of the chorus, just after the drop, there's a guitar slide in the background of the instrumental. it's not extremely prominent, but it's just enough to suck you into the chorus - quite literally. at this point, the song has finally fulfilled what it promised at the end of that first verse - a song full of excitement, energy and passion.

from here, the chorus can be divided into 2 sections, and within these 2 sections there are 3 distinct segments.

here's what those sections and segments look like, using the lyrics and colours:

section 1

my heart is taken away, i don't give a my heart has gone to ya, i don't give a it blows my mind how you did this to me with all of your shine, she got the ruby

section 2

my heart is taken away, i don't give a my heart has gone to ya, i don't give a and girl I knew that this would happen just from the start 'cause she got the ruby

(note: different colours indicate segments!)

now, let's take it slowly and deal with this section by section.

in the first section, he's used musical elements to segment each section into 3 smaller parts.

firstly, the usage of the repeated phrase "i don't give a". since he doesn't finish the line, and especially because you expect him to swear, you're shocked and keep listening to find out what he's meant to say, but he does this a second time, which sets you up for the third segment, where he completely changes it and does something different. additionally, this acts as something of a "marking point" for your brain, as it denotes that this part is kind of repeated as the lyrics are similar.

secondly, the usage of the guitar as the major melody in the chorus. the guitar is loud but it has a clear melodic refrain, and this is repeated twice in accordance with the first 2 segments. however, in the final segment, it begins the same way but doesn't follow the same melody, shocking you and subverting your expectations once again.

thirdly, the usage of the drums to indicate segments. though this one isn't as obvious as the lyrical cue, it actually indicates to you that the third segment is going to be different. at the beginning of each segment, there's a prominent, singular drum beat which is actually what "phrases off" this section into segments because the drums create the rhythm and flow of the song. however, at the beginning of the third segment, there's a triplet (three consecutive steady beats, think about ba-ba-ba) drum fill that comes before the indicative singular drum beat. this is the tiny musical cue that lets you know that this third segment is going to be different from the previous two.

after that, right at the end of the section, we get our recurring melody back, and our brain goes "yea we know that one!" and gets really excited.

as we ease into the next section, the instrumental lead in is practically identical to the instrumental lead in from the pre-chorus to section 1 of the chorus, making your brain excited again with a familiar, recognisable melody.

i should mention now that the 3 points about the lyrics, the guitar and the drums also apply here. however, within this second section, the first two segments are exactly the same as the first, which makes you think "well this is boring, why is he just repeating the chorus twice?"

that is until you reach the third segment where the lyrics change and make you pay attention, and your brain is now thinking "wait when the heck did the lyrics change?".

now, you've effectively sat through the chorus twice, and you're going to hear it another two times, so if this song won't leave your mind for the next few days, you can just thank jihoon :)

post-chorus

you're probably looking at me wondering "what on earth constitutes the post-chorus?"

well, i'm gonna put it simply:

she got the ruby oh yeah, oh yeah

yep. just two lines.

but the music in this section is far more important.

looking back to the end of the chorus: remember that instrumental lead in that we've heard 2 times now? once at the end of the pre-chorus and once at the end of section 1 of the chorus?

well, we got it again, folks.

but instead of continuing into an explosive melody like on the previous two uses, the music fades out with a strong note on the guitar, showcasing woozi's vocals, and having sparse instrumentation; while all of us listeners have been fooled again.

while the drums have been pretty prominent for most of the song, they are barely present here, only faintly audible as a base beat to keep time.

instead, the guitar takes the spotlight, as it takes over our ears with powerful notes that just seem to be so satisfying. i might be wrong about this one because i'm very uncertain about it, but i think the vague guitar melody in this section is partially derived from the guitar melody from the chorus, and due to the similarities, our brain gets kinda happy about it again.

but by having a strong yet muted post-chorus, he's chosen to keep the energy of the song up but compress it into a select few notes, increasing the tension that we feel. this is extremely important because of the next part of the song.

hook

and yes, we're finally here! everyone's favourite coke zero line!

this line blew me away for multiple reasons even on first listen, and we'll get into why these two simple lines are so incredible.

we'll start with the fact that these two lines even qualify as a hook. you're probably looking at me like i'm crazy right now, but let me explain.

there isn't a set definition of what a hook should be, but most hooks are:

constantly recurring

usually in the chorus

danceable; and

memorable

some examples of hooks in kpop are "i'm on the next level"; "it's the love shot"; "i'm the mafia" and "sorikkun". they can even be comprised of just music, like that whistle in sticker by nct 127.

in case you're still confused, some seventeen-specific hooks include:

"let me drop the eumak"/"hit, hit, hit, hit; hit sound" - hit

"gomabda" - thanks

"left & right" - left and right

"24 hours" - 24h

"we change up, change up, change up" - change up

as you can see, most of the examples i've listed include the title of the song they're from, and the only exception to this is hit (and sticker, but that one has no lyrics). and, all of these examples are featured in the choruses of their songs, and are repeated so many times we would like some of them to leave our heads (mainly sticker).

however, these 2 lines in ruby are very different from the examples i've listed above. for one, it isn't even in the chorus of the song, and it's only mentioned once. so how is it that every carat across the internet is still going "shit, this is red too"?

well, one definition of a hook describes a hook as something that consists of "a lyric that furthers the dramatic action, or defines a person or place". and we quickly see why this line works as a hook.

firstly, jihoon has a well-known coke addiction, satisfying the term "defines a person", because we all know that he's 70% coke, not 70% water.

secondly, "shit, this is red too" satisfies the term "furthers the dramatic action" for a few reasons. this is because of the lyric before this where he's trying to calm down, but it occurs to him that the coke is also red and he can't help but think about this girl again, creating tension and anticipation in the song. also, because he's swearing - and how often are idols allowed to swear?

with the lyrics creating tension, the music cannot lag behind, and the way woozi has produced the instrumental for this section heightens this even more.

at the end of the post-chorus, the music cuts off suddenly, leaving the drums behind with the occasional guitar chord. additionally, the vocaloid on jihoon's vocals makes him sound distant, distorted and airy. the minimal instrumentation as well as the change in how he sounds vocally make us disoriented.

and just as the music begins to swell and fill out the song again, allowing us to feel stability, it cuts out, and we're hit with "shit, this is red too" which shocks us, mainly because "where did that come from?" is the main thought on our minds.

this not only creates tension, but compiles this tension with the compressed tension from the post-chorus, and suddenly our brain goes into overdrive, thinking "what on earth is this song and what is it doing to me?"

just like that, we've got it stuck in our heads, and it perfectly fulfils the criteria for a stellar hook.

pre-chorus 2 + chorus 2

these 2 are basically the same as their counterparts from earlier in the song, but there are 2 key things i want to mention.

firstly, since the section right before the pre-chorus ends completely silent, this makes the build up of the pre-chorus into the chorus feel even more intense, even though they are identical. this helps to change the pace of the song a little so that it doesn't get boring.

secondly, that transition at the end of the chorus has fooled us again because it leads into a bridge that is jarringly different from anything we've heard before, but let's leave that for the next section.

bridge

the bridge is kind of weird? in the sense that i'm not really sure what to make of it, but i'll try my best.

firstly, i would consider this an "instrumental bridge" even though there is some vocaloid layered over the top. it's clear that the words spoken aren't of major significance since they aren't included in the lyrics, and based on the way this song is mixed, it's clear that they're emphasising the instrumental in this section.

the drums are heavy and full, they complement and ground the guitar solo that is taking place almost as background noise. though it is the central focus of the mv, the guitar solo itself also sounds faintly distorted and echoes in the background with heavy reverb.

the drums are heavy to serve as a grounding element for the vocaloid and the guitar solo, since both of those have been auto-tuned to sound distant and echoey. it's a complete contrast from the rest of the song and makes you pay attention in case you're getting a little bit bored of the song at that point.

but in my personal opinion, i'm sad that the guitar solo isn't more prominent because woozi playing the guitar can be something that is so personal-

at the end of the bridge, the instrumental picks up in pace before you are suddenly directed to what seems to be another pre-chorus...

outro

except it isn't! or well, it begins like one anyways.

we slide into the outro with a guitar riff from the bridge, and suddenly we hear the tinkling of the piano accompanying the familiar melody of the pre-chorus. the gist of this part is the same, except that the heavy guitar and drums of previous pre-choruses has been replaced by snapping fingers and a light, floating piano melody. we've now moved away from pop/punk rock and are now in jazz/rnb territory!!

the style in which the piano is played is familiar to anyone who's heard even a little bit of jazz, including the music they play in the lobbies of hotels and in lifts. the snapping fingers have replaced the drums as a means to keep time, and dominate the music less than the heavy drums that came before.

though the tone of his voice is the same, this section of the song feels much lighter simply due to the change in instrumentation and it feels a lot more child-like, different from the passionate sound of the genre that came before.

after just two lines of the pre-chorus, we move into a little bit of sing-song "la la-ing", which subverts our expectations of a typical pre-chorus. though the melody begins the same way, it quickly changes and is now different from the melody we're familiar with, introducing the piano and drums together, creating a small build up that you expect to lead into the chorus.

yet out of the blue, there's a break in the instrumental, a whispered "she's got the ruby" accompanied by a 'ba-dum-tss', and laughter. suddenly, the song is over. what happened?

you expect the whispered line to lead to a final crescendo due to the melodic build up, but the 'ba-dum-tss' of the drum is usually at the end of a song, and the one in this song is frequently used in jazz. this is jihoon's way of telling you "welp, show's over!" and that he's surprised you all the way to the very end.

the laughter is more of an aesthetic touch, adding to the vibe of the song overall, giving it some form of finale. it also does feel like he's laughing at you, which i suppose infuses the end of the song with a fun touch.

by rounding out the song with something so unexpected, his goal of leaving the listener enraged has been accomplished - i'm sure most of us felt "this is too short!" or "it ends here??" when we got to the end of the song, and that is exactly what he intended. it's the reason why this song doesn't even hit the 3 minute mark. but it's ensured that he's kept you paying attention this entire time, and that's enough for him.

conclusion

in summary, ruby is so exciting because it never fails to keep you wanting more, keeping you on your toes for every single one of those 2 minutes and 43 seconds. it spans three genres that are all associated with woozi in one way or another, and it's a song that highlights his strengths as a performer and as a producer - and i can see why he chose to make this his solo debut.

and if you've read this far, thank you for sticking around! i hope you've learned something through my analysis! if you have any views you'd like to share, or any questions you want to ask, feel free to drop me an ask @moriiyun!

i'd also like to mention that i have not received any formal music theory training, which is why this analysis is not the most technical. so if you're more musically informed than me, and would like to correct some of my mistakes, feel free to let me know!

[radiosandrecordings]

Hey, you ever wonder what song the Hive was playing to Jane? (Better with headphones)

Audio Description: The song “Toxic” by Britney Spears playing, slightly muffled. It is overlaid with the sound of a tape recorder, multiple tracks of wasps buzzing which pan between ears, wooden floorboards creaking, and distressed breathing, which sometimes turns to laughter, but fades to muffled crying.

[randomvarious]

Cathy Dennis - “Touch Me (All Night Long)” Dance Mix USA by Markus Klinke, Rawle James, Rob Rettberg Song released in 1990. Mix released in 1994. Dance-Pop / House

Found a really good article in The Guardian from 2008 that tracks the career of Cathy Dennis, a brief, early 90s UK pop-house princess who was shaped in a similar mold to Kylie Minogue, and then went behind the curtain to become one of the most successful and prolific pop songwriters of all time:

It is a measure of how disposable pop music is and how fickle listeners are that Cathy Dennis is, for many, only half remembered. We might struggle to think of one of her songs, only vaguely recall what she looks like. Yet, she was a star: she had 10 consecutive UK top 40 hit singles in the 1990s and was even more adored in the US and Japan.

For anyone still trying to remember, the lyrics "hold me baby / drive me crazy / touch me / all night long" should ring some bells.

Today she is one of the most important women in the pop industry, as one of its most prolific songwriters. She went into the history books when the song she wrote for Katy Perry, I Kissed A Girl, recently became the 1,000th number one record in the Billboard US charts. Last Sunday the single reached number one in the UK charts and has become one of the songs of the summer. Quite simply, without such talented writers as Dennis the whole mad pop machine would fall apart.

The number of pop songs that Dennis has had a hand in is staggering. To name but a few: Toxic by Britney Spears, Never Had a Dream Come True by S Club 7, Anything is Possible by Will Young, About You Now by the Sugababes, Sweet Dreams My LA Ex by Rachel Stevens, and on and on.

But there is one song she co-wrote, with former Mud guitarist Rob Davis, that will be the subject of pop culture essays for years to come. Not only did Can't Get You Out of My Head rescue Kylie Minogue's then floundering career in 2001, it is, for many, one of the greatest pop songs ever.

You get all that? This pop singer that most people thought had just faded into obscurity (including you, admit it!) is behind "Can't Get You Out of My Head," "Toxic," and "I Kissed a Girl." And so much more, actually. Those grafs don't mention it, but Dennis has worked very closely with Simon Fuller throughout her entire career. If you don't know who Simon Fuller is, I wrote very cynically of him in a long post about S Club 7 during quarantine. When Fuller discovered Dennis when she was just 17, he was the manager for Paul Hardcastle, who at the time had recently triumphed with the 1985 anti-Vietnam War UK megahit, "19." But throughout the 90s, Fuller managed to manufacture and amass himself a British pop music empire, and Cathy Dennis was alongside him in some capacity just about every step of the way.

The Spice Girls? That was Fuller's invention. And guess who wrote the B-Side for Wannabe? Cathy Dennis. S Club 7? Another Fuller project. Guess who wrote a bunch of their songs? Cathy Dennis. Pop Idol and American Idol? Guess who wrote their theme songs? Cathy Dennis. Winners of those contests, like Kelly Clarkson and Clay Aiken; guess who wrote some of their songs, too? Cathy Dennis.

You've heard so much more Cathy Dennis in your life than you probably thought you actually ever had. And that's not an exhaustive list either. She's also written songs for Celine Dion, P!nk, Ariana Grande, Christina Aguilera, Little Mix, Carrie Underwood, and David Guetta. And she's worked with Mark Ronson and has written with Primal Scream, too(?!).

So, here's the song that really set things off for Dennis: "Touch Me (All Night Long)," a marimba-laced sonic piece of cotton candy (it's light, fluffy, and sugary!) that was able to keep her on the dancefloor while also occupying the top 40 airwaves, and charted high across multiple continents. Co-produced by the one and only Shep Pettibone, this new and improved cover of a mid-80s electro-freestyle-post-disco tune by Wish and Fonda Rae has found ways to remain on gobs of early 90s playlists and mixes throughout the years. It's not an earth-shattering song in and of itself, but there is something to be said about its overall ubiquitousness. "Touch Me (All Night Long)" had very broad appeal. It fit on a wide range of radio formats, all the way from adult contemporary to contemporary dance. And there's really not that many songs out there that have had that level of versatility, much less in 1991. That's ultimately why this thing smashed; it's an inextricable piece of the early 90s, both as just straight-ahead radio pop and also for the clubs; a song that youthful dance hedonists and their fuddy-duddy parents could both find ways to enjoy. Kind of remarkable, no?

Warm, bouncy bass stabs, sets of dreamy strings that float and soar, perpetually ticking hats, a dash of wah-organ stabs, that aforementioned marimba, and a catchy, singalong pre-chorus and chorus. If I was writing for some music publication about this song when it came out and "Can't Get You Out of My Head" somehow predated it, and if I was also a really corny fuck, I might say something like, "this is a song that we just can't get out of our heads, either!" But none of those conditions I just made up are real, so I won't do that to you 😁.

[inkmemes]

britney  spears  sentence  starters ↪  taken  from  various  albums.  alter  as  you  see  fit.

“it's hard to see with all the people standing in the way.”

“i’m not your property.”

“she can't tell me who to be ‘cause i've got my own identity.”

“there's things about me you just have to know.”

“i'm so glad we're at the same place.”

“i'm just a girl with a crush on you.”

“the sense of loneliness will fade.”

“i need a hit.”

“that’s not the way i planned it.”

“isn’t she lovely?”

“now, i ain't buyin' that.”

“you were my real love.”

“and i'm back where i started again.”

“she’s so lucky.”

“i see the road laid out in front of me.”

“i'm miss bad media karma.”

“people are looking at us.”

“i must confess.”

“you’re haunting me.”

“sometimes i’m scared of you.”

“it's the sweetest thing I've ever heard.”

“i don't believe in fairy tales.”

“it's not that i don't want to stay ...”

“how am i supposed to know what's right?”

“it scares me ‘cause i've never felt this way.”

“i wanna believe in everything that you say.”

“it will be alright.”

“i used to go with the flow.”

“i just can't control myself.”

“there's only two types of people in the world.”

“i’ve had enough.”

“i know where you've been.”

“tell me you're so into me.”

“guess you wanna be left alone.”

“i'd wait forever to be your girl.”

“i've been waiting here forever.”

“i'm still the girl you used to know.”

“if i said i want your body, now would you hold it against me?”

“if only you were here tonight ...”

“your body language says so much.”

“it’s getting late.”

“hooked up with a guy named joe.”

“you don't answer when i phone.”

“it's like an endless fight i never seem to win.”

“what the hell, who cares?”

“how was i supposed to know that something wasn't right here?”

“i made you believe we're more than just friends.”

“another day, another drama.”

“i don't wanna be so damn protected.”

“time may find me somebody new.”

“guess i can't see the harm in working, and being a mama.”

“it's you they're all waiting for.”

“don’t you know that you’re toxic?”

“have you seen [name] tonight?”

“hush, just stop.”

“i feel so small.”

“where you from? how’s it going?”

“bet you didn't see this one coming.”

“i shouldn't have let you go.”

“there's nothing that i wouldn't do.”

“we can read each other's minds.”

“i got you on my radar.”

“if you love me, trust in me.”

“it’s only your shadow.”

“i've got a feeling we'll be so much more than friends.”

“all i really want is to hold you tight.”

“what would it take for you to just leave with me?”

“ i know what you are.”

“how was i supposed to know?”

“give it up and leave it all behind.”

“there's nothing you can do or say.”

“here's a picture of us two.”

“baby, i'm so into you.”

“i really want to know what we did wrong.”

“but i need to hear it straight from you.”

“my loneliness is killing me.”

“i'm not that innocent.”

“not tryin’ to sound conceited but me and you were meant to be.”

“no wonder there's panic in the industry.”

“i am better off without you.”

“stop, you're making me blush.”

“my friends say you're so into me.”

“interesting sense of style ...”

“i’m addicted to you.”

“i ain’t going nowhere.”

[mlmxreader]

Common People | Billy Butcher

summary; you finally find a song that Butcher likes.

notes; gender neutral reader

You had tried everything, from pop music from the eighties through to thrash metal and death metal, but nothing seemed to make Billy tap along to the tune on the steering wheel; you had your phone attached to the car's radio with an aux cord, choosing the songs but always skipping them when you realised that he wasn't too keen.

To be honest, you quite expected Billy to be a little less cold and scowling when it came to metal, but apparently not; but then one song in particular came on, and you caught his lips tugging into a hidden smile.

'Common People' by Pulp.

You grinned as you leaned forward and turned it up, able to feel the beat in your seat as you sang along loudly; you could have sworn you saw Billy smile properly for a moment, but maybe that was just the glare from the sun, a trick of the mind.

"I wanna sleep with common people like you," he grumbled, voice quiet and rough like harsh thunder, his gaze flicking over to you for a moment before he focused on the road ahead again; the motorway seemed to stretch on forever, disappearing into black and jumping out of the gaze of the headlights. He kept the car at a perfectly legal fourty miles per hour, there was no rush, rushing would seem suspicious. Billy cleared his throat, grumbling a little more as he dared to speak up, "keep this song on, yeah?"

"Sure," you agreed, putting your phone in the little pocket beneath the radio and sitting back in your seat, looking out of the windshield and tapping along on the edges of your seat. "Y'know, I thought you'd be more into Slayer, Butcher."

Billy chuckled gruffly as he shook his head and allowed one hand to grip the top of the steering wheel, fingers tapping along, his other hand resting on his lap as he avoided looking at you for a split second. "With the exception of that bleedin' ABBA bollocks, most of the songs you've skipped through have been alright."

You raised a brow, smirking at him as you hummed curiously. "Even the Britney Spears songs?"

"That's fuckin' pushin' it," he replied, "but that Toxic song was alright, I guess."

You laughed loudly at that, barking and closing your eyes as the jovial and musical sound left you; it even made Billy smile as he tried to hide it by rolling his eyes, but then you shifted to lean forward a bit, tapping along to the song on the dashboard as you shot him your best smile. But to Billy that was every smile you gave. "Billy fucking Butcher likes Britney? Amazing."

"Shut up," Billy growled, but there was no threat in his voice, more a playful annoyance.

"Make me," you beamed, but then he pulled into the lay-by and stopped the car, looking at you and swallowing thickly.

"And how am I gonna do that?" He asked, his gaze dropping to your lips for a moment.

You shrugged, still smiling. "You could kiss me - that might work."

The song faded, turning into 'Criminal' by the one and only Britney Spears.

Billy was hesitant for a moment or two before he leaned over, careful not to allow the gearstick to stab into his ribs as he cupped your jaw sweetly and brought you closer, closing the distance when you leaned into him and pressed your lips against it; it was slow and a little awkward at first, but when you smiled into the kiss, Billy allowed his other hand to grip the back of your neck as you held onto his shoulders. It would have been better if you weren't in the car, but it wasn't particularly a bad kiss, it was actually a lot better than most of the kisses you had shared with people before, and when you pulled away, you licked your lips to savour the taste of his.

"Are you gonna shut up, now?" Billy asked, not even partly serious as he broke away and rested one hand at the top of the steering wheel, the other on the back of your headrest as he raised a brow.

You shrugged, your smile fading as you looked at him so softly, so adoringly. "I might... unless if you're always gonna kiss me to get me to shut up."

"I fuckin' might," he scoffed, halfway between a laugh and a growl. "We best keep goin', though, if we wanna make it by mornin'."

"I can drive," you offered with a shrug.

"Nah, you stay there," he declined, shaking his head and putting the car back into gear, the engine roaring to life again as he reversed back onto the road and continued the crawl along the motorway, but his hand came to rest just beside your thigh, and when you gripped it tightly and pulled it into your lap, he bit the inside of his cheek. "That kiss don't mean anythin', (y/n), not... not unless if you want it to."

"I want it to," you replied softly, "trust me, Butcher, I want it to."

You grabbed your phone with your free hand, turning the song back to 'Common People' by Pulp as you smiled and leaned over to press your temple against his shoulder.

[rosehaunt]

Tagged by angels @jasminoir and @uneorchide 🖤

Rules are simple, choose 50 songs you want to recommend to tagged people and see what they prepare for you (if you decide to do it). You can choose only one song by certain artist! 

i tag (if you haven’t done this already) @dahliaborne @rruslana @saccarinee @rosademiel @purityrinng @bebemoon @nightmare @chillviaplath @naiadereverie @unefleurofferte @miumiugirl @inthenightgarden @angelinajoliesbottom @senvive @nehmesis @cinnamongirlie

1. Fade by Cailin Russo

2. Lucky ones by Lana Del Rey

3. Lotus flower by Radiohead

4. All in my head by Primrose forever sanctuary

5. Swan lake by Bladee

6. Whatever by Ruby Haunt

7. Heavenly by cigarettes after sex

8. Immortelle by Say Lou Lou

9. Trigger by Woodz

10. Mystery by Jesse Jo Stark

11. Coolest place in the world by Suki Waterhouse

12. This mess we’re in by PJ Harvey, Thom Yorke

13. Celia’s dream by Slowdive

14. Paper bag by Fiona Apple

15. Hat Trick by Lexie Liu

16. Bewitching pool by Spells and Curses

17. Music from the lake surface by Susumu Yokota

18. You’re not the only one by Sky Ferreira

19. Bath water by No doubt

20. Without love by Alice glass

21. Girl disappearing by Tori Amos

22. I’m not in love by Kelsey Lu

23. Complicated by Avril Levigne

24. I put a spell on you by Nina Simone

25. Mary Magdalene by FKA twigs

26. Blue blood by LAUREL

27. Five string serenade by Mazzy Star

28. Becomes the colour by Emily Wells

29. Toxic by Britney Spears

30. 夢中人 by Faye Wong

31. Help me by Hako Yamazaki

32. Be my baby by Vanessa Paradis

33. Moon and moon by bat for lashes

34. Crying in the mirror by Rainsford

35. Petals by Chromatics

36. Head alone by Julia Jacklin

37. The beach by the neighbourhood

38. Evil woman by electric light orchestra

39. Criminal by Taemin

40. Wild heart by Stevie Nicks

41. Butterfly mornings by Hope Sandoval and the warm inventions

42. Nymph-O by plum green

43. The bell jar by honey gentry

44. Rabbit hole by cherry glazerr

45. All the things she said by t.A.T.u

46. Say it right by Nelly Fertado

47. My lovers box by garbage

48. Gare du nord by Claire Laffut

49. Moderation by Florence + the machine

50. Dream in a dream by TEN

[fleetwoodmac-sex-pants]

Tagged by @feebas thanks.

songs i like, alphabetical

A/ always love - nada surf

B/ born this way - lady gaga

C/ cry cry cry - johnny cash

D/ don't save me - haim

E/ eden - ben khan

F/ fade into you - mazzy star

G/ good for you - Olivia rodrigo

H/ huddle formation - go team

I/ it never rains in southern california - albert hammond

J/ just my imagination / the cranberries

K/ kashmir - led zeppelin

L/ lonely boy - the black keys

M/ maneater - nelly furtado

N/ night moves - bob seger

O/ on the road again - canned heat

P/ proud mary / Creedence clearwater revival

Q/ Queen

R/ roam - the b-52s

S/ slow burn - kacey musgraves

T/ toxic - britney spears

U/ underdog - kasabian

V/ venus fly - grimes

W/ what you waiting for - gwen stefani

X/ xanny - billie eilish

Y/ you got the love - the source

Z/ ziggy stardust - david bowie

I'm exhausted

[britneyshakespeare]

Brian Jones originally composed the iconic melody to Britney Spears' 2004 hit song "Toxic" in 1967, but attempted to destroy his product in a fit of unsatisfied, artistic mania. In the early 2000s, the young Miss Britney Jean Spears discovered the tattered sheet music on a trip to London and immediately recognized her favorite Stone's faded signature in the corner (she was #NoJonesNoStones). In honor of his legacy, and the 35th year since his tragic passing, Spears incorporated the tune into what would become one of her most famous and beloved songs not only of her career, but in the whole history of popular music.