#I have been listening to a lot of persona soundtracks recently can you tell

[raziraphale]

rules: shuffle your repeat playlist and post the first ten tracks, then tag ten people

tagged by @dykefaggotry :> ty!

Burn My Dread - Yumi Kawamura

Leprous - Esko Tiko

Us - U.S.S.

Colors Flying High - Lyn

From Eden - Hozier

Mass Destruction - Lotus Juice

Rivers in the Desert - Lyn

Afraid of Heights - Billy Talent

Violet Hill - Coldplay

Stay With Me - The Trews

tagging: @fearless-flower, @floralprintshark, @starrygazingpie, @grouchythefish, @greenslime69, @grandarcanist, @oursidae, @cordyceps-fungus, @orzamara, @acidmatze (no pressure, of course. and if you don't use spotify/equivalent that has a repeat playlist you can shuffle your library ig I promise I won't tell on you lol)

[magicalgirlmascot]

So uh. I've been moving all my playlists off Spotify and onto YouTube (and downloading the songs ~totally legally~ to have on my computer as well), and largely they're private because they're all OC playlists. HOWEVER. I do have a playlist for KNPS which I felt like people might get a kick out of. So here it is. Several of these were added when I moved the playlist off Spotify since a lot of them aren't available on Spotify, particularly video game soundtracks.

Track list (and reasoning) below the cut.

Move Along by the All-American Rejects I don't think I need to explain this one, actually.

School by Toby Fox (from Deltarune) Also kind of self-explanatory. This is music that I associate with Gali and Lewa's class, specifically.

A New Hero by Nathan Furst (from Mask of Light) I love the MoL soundtrack best of all the Bionicle movie soundtracks, so I had to include some of the songs from it here.

Old Friends (Bookends Theme) by Simon and Garfunkel Technically a harp/violin cover but shhh. Old Friends is a Turaga Metru song if ever there was one. This version is just very pretty :3

Wonderland Round 3 by Griffin McElroy (from The Adventure Zone) I'm gonna be honest I don't have an excuse for this one it just slaps.

As Above, So Below by Essenger and Cryoshell A very recent addition to the playlist. I don't think I need to explain this one either, actually.

Birdhouse in Your Soul by They Might Be Giants Takua song. Could not explain why if I tried.

Dreamer by Supertramp Vakama song, also Takua song. It's about someone with their head in the clouds, which applies to both of them in different (and similar) ways.

Friday I'm in Love by The Cure Matau song. Less in that it represents who he is as a character and more in that he's a classic rock guy who loves wandering into the office singing and whistling incredibly on the nose rock tunes.

Bridge Over Troubled Water by Simon and Garfunkel Nokama song. Also a Gali song. I mean listen to it, come on.

Rivers in the Desert by Lyn (from Persona 5) Boss music baby!!

Running Up That Hill by Kate Bush Music that Gali listens to when she's sad.

Toa Reunited and Death of Jaller by Nathan Furst (from Mask of Light) This is on here because of the "Toa Reunited" part I swear. Anyway one of my favourite songs on the MoL OST.

Samurai Heart (Some Like it Hot!!) by SPYAIR (from Gintama) Full disclosure I've never watched Gintama. However. Kohatu song.

Starlight Brigade by TWRP I mean. It's a song about saving the world. "I'd gladly give my life for one night as a justice acolyte" is also a banger line ngl

Supernatural Superserious by R.E.M. I associate this with Kopaka for some reason. Couldn't tell you why.

The Prophet's Song by Queen The most Vakama song ever. Written specifically for him everyone say thank you Freddie <3

The Touch by Stan Bush LISTEN.

The Last Desperate Struggle by Masakazu Sugimori (from Ghost Trick) This is the song I had on repeat while writing the "Lewa gets possessed" chapter.

Running in the 90s by Max Coveri Pohatu unironically listens almost exclusively to this kind of music. The man loves him some Eurobeat.

Time in a Bottle by Jim Croce Whenuju song. Was their first dance at their wedding. The lyrics are literally perfect for them. "I've looked around enough to know/you're the one I want to go through time with" IT'S THEM.

Unite (Redux) by Ron Wasserman (from Mighty Morphin' Power Rangers) YEAH A POWER RANGERS SONG WHAT ABOUT IT. First of all it's literally called Unite. Secondly Power Rangers and Bionicle are like brothers to me. Third and most important it fucks.

A Town Called Hometown by Toby Fox (from Deltarune) Sweet, quaint small town vibes (which is the point lmao). Fitting given that KNPS takes place in a sweet, quaint small town.

Wake Up, Get Up, Get Out There by Lyn (from Persona 5) I associate this with school because it used to be on the playlist I used when I got ready for work in the mornings. It's also a sentiment I can see Gali and Pohatu getting behind.

Wonder by Naughty Boy ft. Emelie Sande I think I first found this song on a Wonder Woman playlist lmao. It's basically about like, personal strength and stuff. Good song.

Working for the Weekend by Loverboy Another song Matau likes to whistle on Fridays.

Beach Chant by Justin Luchter (from MNOLG) Iconic early Bionicle music. Had to include it.

Lost One's Weeping by Afterglow Yes this is a cover of a Vocaloid song and yes it's from a fucking. Band anime or whatever. I like it. Also it's the school trauma song so on the school playlist it goes.

Lucretia by Griffin McElroy (from The Adventure Zone) Look, Lucretia and Nokama are very different people, but there's enough overlap (older female characters who struggle with keeping heavy secrets from the protagonists) that I feel pretty good putting her theme on here. Also Nokama would be the world's biggest Lucretia defender, we all know this in our hearts

SAVE the World by Toby Fox (from Undertale) YES another Toby Fox song. Anyway boss fight music hell yeah

The End by Justin Luchter (from MNOLG) Again, iconic early Bionicle music, really captures the feeling that some great victory has been achieved, at least for now.

Everytime We Touch by Cascada Tahu/Gali song. LOOK. It's a Tahu/Gali song okay

Village Bridge (with buildup) by Junichi Masuda (from Pokemon Black and White) Hands down one of the best tracks from the best Pokemon game. Again very small town vibes.

May add more to it, who knows.

[introvertguide]

Pulp Fiction (1994); AFI #94

The most recent movie for review was the Quentin Tarantino crime thriller comedy (probably more things) Pulp Fiction (1994). It is a very complicated story that is told out of chronological order and focuses on scenes of meaningful character interaction. This confusion meant it lost out to movies with a more straight forward time line at the Oscars, since the move was nominated for seven awards but only took home one. The single win for best screenplay was well deserved and I still believe it is one of the most creatively written films of all time. I want to go over the plot to show what I mean, but let me do my standard due diligence:

SPOILER WARNING!!! I AM ABOUT TO GIVE THE BASIC DETAILS OF ONE OF THE MOST COMPLEX STORY LINES IN MOVIE HISTORY!!! IT WILL NOT LIKELY SPOIL MUCH OF ANYTHING, BUT I AM STICKING THIS WARNING ON JUST IN CASE SOMEBODY FINDS SOMETHING!!!

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The film begins with what is pretty much a prologue but what turns out to be about the middle of the film chronologically. A couple is at a diner and they are talking about robbing banks. They only refer to each other as Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer). They discuss the best kind of places to rob and they decide that a diner would be a good change of pace. Impulsively, they pull out guns and hold up the diner and...title card with awesome spaghetti western music!

Two hitmen are talking about Europe as they go to do a job. Vincent Vega (Jon Travolta) talks about his adventures with Jules Winnfield (Samuel L. Jackson) as they pull up at an Los Angeles apartment complex. The two discuss their boss Marsellus Wallace and how touchy he is about his wife. The boss has apparently sent them to get something from a bunch of guys. Jules and Vincent call on an apartment with 3 college age men and intimidate them into giving over a briefcase with something glowing inside. The case is what they came for, so the hitmen take it and kill two of the men at the apartment...

Flash to a new scene in which Vincent is going to get some drugs from his dealer (Eric Stoltz). Vincent is a heroine user despite cocaine being the popular drug. It turns out Vincent was asked by his boss to take out his wife...the one he is very protective of. He just needs to hang out with her so she is not bored and not get into trouble. To accomplish this, he shoots up some heroine and goes to meet the wife named Mia Wallace (Uma Thurman). They seem to get along and he drives her to a restaurant called Jack Rabbit Slims. The place is fantastic, all the waiters are dressed up like American movie icons and the booths are repurposed cars from the 50s (if this place actually existed, you can be sure I would search it out and go there at least once). The two bond over dinner and then volunteer for a twist dance contest.

Mia and Vincent go back to her house and Vincent goes to the restroom to talk himself out of trying to score with Mia. She is pretty cool, but not worth dying for. While he is away, Mia finds some heroine in the pocket of Vincent’s jacket and thinks it is cocaine. She snorts it and immediately starts to overdose. Vincent panics and decides to drive her to the dealer’s house. The dealer has a nurse kit that comes with a giant needle full of adrenaline which Vincent stabs her with. She wakes up and Vincent takes her back home and is glad that he will live another day...

We jump to a flashback of a young boy who is has lost his father in Vietnam. An officer is visiting that has a gift. Apparently, there is a family watch that belonged to the boys great grandfather and had been passed down through the generations. His father had it when he was captured and gave it to the officer before the father died in the POW camp. The officer escaped and found the boy to give him the watch...

A boxer named Butch (Bruce Willis) wakes up from a dream. He is the boy all grown up. He is about to throw a fight for Marsellus Wallace (Ving Rhames), the same boss that everyone is afraid of. Butch does not throw the fight and accidently kills the other boxer. It turns out that he bet on himself and now he needs to get out of town before Marsellus Wallace catches him. He goes to a hotel where his rather dumb girlfriend is waiting for him. They go to bed and then are about to leave the next morning when it turns out that she forgot his watch. Butch freaks out and goes back to their old apartment to get the watch (note the very long take following Bruce Willis as he takes a back way to get to the apartment). Vincent is there waiting for him, but Vincent is in the bathroom and Butch is able to get a gun and kill Vincent as he is coming out of the bathroom. Things seem good so Butch drives off...

As Butch drives home, he sees Marsellus crossing the street in front of him so Butch hits the gas and runs down the boss but also hits an oncoming car. Both men are injured but Marsellus gains his senses and chases Butch into a shop where both are captured by a weird redneck with a shotgun. Butch and Marsellus are tied up in the basement of the shop and a man named Zed shows up. The shop owner has a gimp in a box (all leathered up and everything) and other fetish things downstairs. After a quick game to pick who goes first, they take Marcellus into another room to rape him. Butch manages to escape and is running away...but he decides can’t leave somebody to be assaulted like that. He grabs a weapon from the shop and kills the shop owner and frees Marsellus from Zed. Marsellus is not happy and says he will go “medieval” on Zed and allows Butch to leave town. Butch collects his girlfriend and leaves immediately...

Flash back in time (we know this because Vincent is alive) to right after Vincent and Jules shoot the guys with the case. Another guy in the other room jumps out and unloads six rounds at the two and misses every shot. The hitman kill that man, but Jules is shaken and decides to give up the business. They take a fourth gut with them in the car to go back to see Marsellus. On the drive over, Vincent accidently shoots the passenger while going over a pothole. The inside of the car is absolutely covered in blood and brains, so the two have to find a safe house. They go to the home of Jimmie (Quentin Tarantino) who will help them but says they have to get out in a couple of hours before his wife gets home. They call Marsellus, who sends over a cleaner named Wolf (Harvey Keitel). They are able to get everything cleaned up in time and leave with the car and the body. Jules and Vincent have to change out of their bloody clothes and decide to take a cab out to a diner for some food before seeing Wallace.

The two are at a familiar looking diner discussing whether their survival was a miracle and whether Jules should quit. Vincent goes off to the bathroom and, while he is gone, Pumpkin and Honey Bunny from the beginning declare it a robbery and it is evident that we have circled in time back around to the beginning. The couple hold up the diner, but, when they get to Jules, he takes Pumpkin hostage and devises a plan for everybody to leave. Jules allows the couple to leave alive with all the wallets, then the two hitmen follow quickly behind them before any police can show up.

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I put a spoiler warning at the top, but there is so much to this film that there is no way you could spoil everything. I find new things to enjoy about this movie each time that I watch it and the watch count has to be at least two dozen times at this point. This film is so rich with allusion and homage to movies of the past that you might never see everything. Tarantino is truly a lover of old films and he worked every reference he could into this film. This is truly like candy for a cinephile. 

I have, however, had a love hate relationship with this movie: I love this movie and I hate it when people tell me it is too violent. There was a lot of negative response to the films toxic masculinity, romancing crime culture, incredible amount of swearing, drug use, extreme gun violence, and very adult themes. There is a very famous interview between Quentin Tarantino and Jan Wahl in which she accuses him of using excessive violence and he tells her it is because it is a lot of fun to watch. His stylistically gory violence stems from exploitation films of the past and there is an established audience that enjoys it. He makes his movies for himself and this group of people.

Kind of like the comedy of Eddie Murphy, Richard Pryor, and George Carlin, you have to wade through a sea of swearing to find the comedic banter. The things that Jules and Vincent say to each other are some of the funniest stuff I have ever heard, but you really have to pay attention. Their attempts to express their feelings while maintaining their hard exterior persona is ridiculous. This is probably why many people enjoy the scenes with Vincent and Mia: there is a lot more courtesy which reduces the tirade of cursing.

The violence is very very over the top, but it is no where near the level of gore that Tarantino has become known for over the years. I must admit that he likes his torture scenes and this film is no exception. I would like to note how clever the torture scene with Butch and Marsellus is because they are both tied up and facing camera so only the audience can see the mischief that is being prepared behind them. 

The soundtrack for the film is well worth mentioning as it also pays homage to 50s, 60s, and 70s exploitations films. There is a lot of silence in the film with sudden bursts of fast paced music that help with transitions. Most famous is the intro music after diner prologue, a surf rock classic by Dick Dale and The Del Tones called Misirlou. It is pure speed guitar riff along the lines of Wipeout and transitions the scene perfectly. Take a listen for yourself:

https://www.youtube.com/watch?v=ZIU0RMV_II8

Maybe the biggest thing about this film and Tarantino in general is the inspiration of the slick gangster dialogue. There had been a push for more melodramatic dialogue or the complete absence of much talking. Tarantino added in this slick, fast moving comedic dialogue that is said over extreme violence and adult situations. Marsellus Wallace talks about having some crack heads torture a man to death immediately after being raped in a basement. The hitmen talk about appropriate manners while cleaning out brains from the back of a car. Jules talks about the meaning of the bible during a robbery. Everything seems out of place in the real world but perfectly acceptable in Tarantino’s world. This is probably why I have no problem with the violence in the film.

So should this film be on the AFI top 100? Absolutely. It is an homage to film history while simultaneously introducing a sub genre that mixes current dialogue and exploitation touches to grindhouse action. It is fascinating and fun. Would I recommend this movie? If you are old enough. I can’t emphasize enough how fun I find this film, but I cannot deny that it is filled with adult situations like drug usage followed by driving, secret dungeon rape, and cold blooded murder with no consequences. If you can differentiate between Tarantino’s world and the real world, then this is great. If you can’t, then maybe try something else with slick dialogue like Butch Cassidy and the Sundance Kid.

[authoressofdarkness]

Guide Me Safely To Shore

Only one thing ever made Tony Stark think twice about fulfilling his full potential. Two little words on the inside of his wrist, where his soulmark sits, ghostly, waiting for him to recognize his soulmate in some unredeemable way. He always knew he’d hurt them. But when he discovers his soulmate is none other than the feisty little Spiderling swinging around his streets, he realizes things are a lot worse than he ever could have thought.

Notes: So this just hit me in the middle of the night while reading fanfiction and avoiding hw the other night. I’ve got several ideas for it going forward, so this isn’t a one shot, but with midterms right around the corner I can promise nothing. Sorry. But I love you all and I’m hoping to get the next part out soon. <3 Enjoy, and I’d love to hear what you think!

This is unbetaed, so sorry for any mistakes.

Also, if anyone is interested, I realized while titling this that the song I took inspiration from is actually a lot more relevant to this story than I thought, and even more so the play itself. You can consider it the theme song for this story. The song is called “All That Matters,” from the Broadway cast of Finding Neverland. If you ever get the chance to see it, you most definitely should, or at least listen to the soundtrack. So listen to that if y’all get a chance, and do with that what you will.Okay, now enjoy! 💙

Only one thing in the world had made Tony think twice about fulfilling his full potential.

It wasn’t his friends. Or family — not that he really had any to speak of. Not his position at SI, not fear for his life, his work, his legacy, or anything of the sort.

It was the last thing someone would expect, honestly. Even for a man like Tony, an alpha with such power, who commanded such respect, had to have a soulmate. One he was expected to love, cherish, and yes, even a man like him craved that. He hadn’t met them yet, though, his soulmate, but the two words branding him, marking him with the words from his soulmate that will seal their bond, are there, have always been there, carefully hidden away from the public eye… and terrifying him in a deeper way than anything else could.

Please don’t.

Those two little words, branded onto his skin, reminding him every day of the horrors he may be wreaking on his soulmate without knowing it. There was no way to interpret them in a good light; and he knows that they mean, to some extent, he is going to hurt them.

And what’s worse, is that he hears them so often. People begging. It’s almost become part of his reason behind his cruel reputation — forcing people to beg, just to make them say it, just to make absolutely certain before he does something irreversible that it's not his soulmate he holds. Each time, he has to hold his breath, think about everything he’s ever done in that split second while he waits to see if hearing the words this time will change his life.

It’s the only thing that’s ever made him think twice about the things that he does. If there’s one person he doesn’t want to hurt, that he’d protect with his life at all costs, it’s his soulmate.

Yet he has no idea who it is, and the only thing he does know is he’s destined to fucking hurt them. Probably make them beg for their life before he realizes that they’re his soulmate. That he’s hurting his other half.

Most of the time he relishes the power, the fear and respect he gets from other people. But the idea of his soulmate being afraid of him just makes him sick to his stomach.

Tonight, the thoughts weigh heavy on his mind as he flies around the city in his suit.

In the years since he’s come to power — subtly, of course, then slowly less so — there had been little resistance from the masses. His influence is good for them, for the most part. It’s more peaceful than it’s been in years. Most people go about their lives business as usual. So long as they don’t challenge him.

Except there’s still a couple of people who challenge him.

The Avengers are, by far, the most pesky. But in recent times they’ve rather given up. There’s bigger problems in the rest of the world, still, and they can’t trick him or infiltrate him, can’t operate in secrecy the way they usually do. Tony is isolated — few friends, and none that would dare betray him, especially not after what happened to Obie. His company is firmly in his own hands, and his technology gives him virtually limitless access to information. He can see virtually anyone, anywhere, anytime he wants. There’s no way to hide from him. And what’s worse for them — he doesn’t try to hide what he’s doing. There’s nothing to expose when you’re honest from the start. He’s practically untouchable.

But… wait, did he say no way? That’s not… entirely true. He doesn’t know how, but someone has found a way around it.

Because there’s one person other than the Avengers that still bothers him.

Spider-Man.

He’d let him go for a while. It’s his own fault they’ve gotten so confident, if he’s being honest. Letting them run around and play vigilante. At first, they’d been a help, in truth — dragging in some of the street trash even he couldn’t control, and couldn’t be bothered to deal with personally. But then he’d started to get bolder. Bold enough to interfere with him. And while he couldn’t do any major damage, he sure was annoying.

Mostly because he was succeeding. In interrupting little things, at least. And, going back to his earlier thought, because he can’t fucking find him.

Whoever the guy is, he’s careful. Smart. Smart enough that Tony hasn’t been able to find basically any footage of him, anything to link Spider-Man with a normal persona. And he’s obviously just a normal person under the suit. He has to be. And there’s no way he lives in that thing all the time. Especially not with the way he’s avoided his detection so well.

He’s made all the harder to track by his erratic schedule. He can come out at night or during the day, every day for a month and not be seen again for a month the following days. The only consistency is that he tends to be out and about in the Queens borough. Even that is a wide enough area that he has a hard time using it to pin the man’s identity down. He’s narrowed it, certainly, but calculating the amount of people that could make it there every so many days, accounting for the inconsistent schedule and what it could mean, age, height, and hell, even gender — because really, all they would have to do is use a voice modulator and let people see what they wanted to for the rest — means that the number of suspects is still in the thousands.

Speaking of pinning the other man down…

He hopes to be able to do that tonight. He’s let the vigilante go unhindered for long enough. It was time for them to have a little talk. Preferably a short one. He’s tired and temperamental tonight. The day has been long, and all he really wants is someone to help bear the load, but… he can never be so vulnerable. Not with just anyone, particularly, and there’s no one he trusts around tonight. That’s part of the reason why he’d decided to come out and fly around.

That, and because he’d gotten a pretty reliable tip that Spider-Man was going to be out and about himself tonight. And they have some business to attend to.

He finds the vigilante, to his surprise, perched on the edge of the roof, legs swinging in the breeze, looking out over the city through his lense-covered eyes.

He descends from a distance, loudly enough there’s no way the other man doesn’t hear as he’s approaching. But he doesn’t move. In fact, Tony is surprised to hear it when he comes up behind him and he still hasn’t moved at all except to suddenly say, “I wondered how long it would take.”

“For what?” Tony can’t help himself; he bites, immediately, curious. Fascinated, he’d dare say. The confidence in his own abilities he must have to sound so calm, to stay put upon hearing him approach, is almost unbelievable. Either that, or he doubts his own ability to make a clean escape, and so didn’t bother. He’s not sure which option he prefers, but either way, this will be interesting.

“For you to come looking for me. Everything I’ve done to keep my identity a secret, I’m sure you’re dying to know by now.”

He says it so matter-of-fact, emotion undistinguishable in his voice. Tony tilts his head, unsure whether he should be impressed with his ability to sound so cool and self assured, or annoyed with the fact his assessment was correct.

It hardly matters. Part of the reason they had to have this chat in person was so that Tony could begin to work on figuring it out. The AI in his suit is no doubt already working on it. And he doesn’t sound like, for all his seeming self-assuredness, that he was smart enough to use a voice filter, so no doubt Jarvis is well on his way. Not that it would have stopped him, but it might have delayed the inevitable enough that he may actually have had a chance to escape this time before a verdict came in.

“I suppose you’ve got me there,” Tony finally says, after a long moment of deliberation. “I don’t suppose now that I’m here you’ll just tell me? I can go easier on you if you come quietly.”

Spider-Man lets out a bitter laugh and shakes his head. “Can. But you won’t. You could just let me go. But we both know you wouldn’t have come all the way out here just to do that.”

“Well you could go back to fighting low-level crime instead of infringing on my operations, couldn’t you?” Tony retorts. “And flattered as I am by your assessment of me-“ he can’t say much, as he’s not entirely wrong, “-I thought I’d at least give you a fair chance, first, before we go quite that far.”

“I don’t think your definition of fair chance and mine are the same.”

Tony ignores him, continuing on. “Go back to fighting your low level crime and having a good time and whatever else it is you do. Stop interfering with my operations. I’ll even give you my endorsement so the police won’t bother you.”

It’s a generous enough offer, all things considered, but the vigilante is having none of it.

He snorts. “Is that all you’ve got? Really? I expected some kind of bribe, at least.”

“Maybe if you show me you can keep your word, we could talk about it.”

“I don’t think that’ll be necessary. I’m not giving you my word on anything.”

“Shame. Here I thought we’d make a good team.”

“In your dreams, Stark. Just because the Avengers have given into you doesn’t mean everyone else has.”

“That would be a dream, wouldn’t it?” Tony muses, then heaves a sigh. “Fine then. Have it your way.”

For a moment, neither of them move. Then, by some unspoken signal, Tony’s hand comes up, repulsor glowing red hot, just as Spider-Man shoots his first web.

The shot hits the web halfway, making them both disintegrate into thin air. Already moving, Tony flies up in the suit, only to feel a tug on his leg halting his upward momentum — a web. In the second it takes for his suit to disintegrate that one, as well, he’s being covered in more, the force of them pelting him back into the roof, feet sticking to the concrete and torso forced back against one of the light poles, sticky and irritating.

Of course he’d figured out a way to make it so the webs didn’t stick long to his suit as soon as the Spider-Man had made an appearance, but it wasn’t perfect, yet. Couldn’t be without the formula. So while he wasn’t pinned down for long, it’s just enough to get on his nerves.

Even more so because for all his big talk, he’s not actually fighting. Spider-Man pinned him down… and fled.

Well, that just wouldn’t do, would it?

Tony engages the full force of his throttles to just break through the webs faster, and gives chase. He can’t just let him get away with that, after all.

As he flies, he gives himself a minute to focus on the internal calculations flashing in front of his eyes. “How are we doing, Jarvis?”

“Nearly there, sir. Calculations based on body scan and public records have erased quite a few suspects. Cross referencing voice clips with all accessible video including the remaining suspects, but the sheer number is immense. I require a bit of time.”

“I’ve given you a bit of time. I need a name, Jarvis. Something for blackmail. I need to end this tonight.” He doesn’t have time for playing games with the Spider-Man, especially because he’s managed to disappear so effectively every time he tries to. He doesn’t know when he’ll find him again if he doesn’t tonight, and he has a lot of things happening in the near future he does not want messed with.

If he doesn’t find the information he needs, then this night isn’t going to end near as pleasantly as he’d hoped.

Spider-Man is fast, swinging through the city, but not fast enough to shake him. Especially not with his AI’s ability to analyze his every move and know where he’s going to turn next.

He lets him swing around for several minutes, pretending to give chase and hoping to tire him out. He has to just be waiting for him to get bored or lose sight of him so he can drop in somewhere and hide until he leaves or take off the suit to blend in with everyone else. Unfortunately for him, that trick isn’t going to work on him the way it probably does for normal people.

Tony just lets him swing around and tire himself out with him in hot pursuit, then, when he’s sure he has to be running out of energy — and webbing, he could hope — he flies up, into the clouds, dodging and weaving and utilizing his tech to keep an eye on the vigilante while staying out of his line of sight.

It works. Spider-Man drops onto a nearby roof, stumbling a little and bracing himself against a light pole. With a dangerous grin, Tony swoops down to meet him.

By the time he hears him coming and spins around, it’s too late. Tony closes the suit’s hand around his throat and flies him forcefully into the wall of the rooftop exit. Brick crumbles around his outline at the force of the impact, and the lenses of the suit go wide as he claws at his throat.

Almost at the same time as the impact, a picture flashes up in the visor of his helmet. “One almost perfect potential match, sir.”

For a second, Tony just stares at it. Looks through the analytics and double checks them. Then he laughs, unable to help himself. It’s just unbelievable enough that it explains so much. So young — hardly even a man. Spiderling, then, more so than Spider-Man. And even better — an omega. No wonder no one looked twice at this kid before as a potential threat.

He lets the helmet melt away, now, and looks down at the kid, grip around his throat tightening just a little as he watches him wheeze out a breath. His hand around Tony’s wrist is tight, tight enough his suit issues a warning, but not enough to actually dislodge his hand.

“So.” Tony tilts his head. “We meet again, Spiderling. Should probably stop doing that, hm?” He gets a strangled sound in answer, which is about all he could expect, really. He just shrugs. “Oh well. It’s not like it’ll happen much after tonight. Because I’m going to put an end to this, right here.” He leans forward, helmet reappearing— just in case he would do something like try to head butt him, because frankly, while it wouldn’t work, it would hurt — until their noses are almost brushing through their respective suits. “Last chance, Spiderling. We can do this the easy way or the hard way. Are you gonna be a big boy about this or not?”

Tony releases his throat just enough for him to draw in a few breaths to answer. He holds his breath as the vigilante sucks in a few huge gulps of air before spitting out, “Go to hell, Stark.”

Tony just chuckles, clicking his tongue. “Oh, I will, I’m sure. But at this rate, you’re going to get there first.” He presses him a little harder against the wall, grip tightening again and ignoring the way the bits of brick and concrete pour down around them like rain. “I didn’t want to do this, kid, truly. But if you think I won’t kill you, you’re wrong. And if you think your loved ones won’t be targets if you don’t quit your shit, you’d also be wrong. I don’t like to be cruel, but I am what you make me, and I won’t stand for this any longer, Peter.”

The use of his name has a visible impact on the kid. He gasps, and his grip on his wrist tightens enough around the metal of his suit that it bends around his fingers and it actually hurts. Tony’s grip around his throat slackens a little automatically, and he frowns. It’s weird. It almost… burns? That’s not what a bruise or metal cut should feel like...

And then he hears it. The teen sucks in a breath, and in a broken, raspy whisper, gasps, “Please don’t...”

The effect is instantaneous. The slight burning in his wrist turns into a wildfire, like a brand, hot and burning and fuck does it hurt for that second. He responds automatically, jerking his hand back as if scalded, and watching almost in slow motion as the younger man crumples to the floor. It takes a moment longer than it probably should for him to realize exactly what’s happening, and then the suit melts off his body and he stares in horror as the color seems to settle in his soul words, now shining a bold black from where they sit on the inside of his left wrist.

Heart thundering in his chest, he stares for a long minute before snapping out of it and rushing to his side. He’s passed out, now, though from lack of oxygen or shock or what, he can’t be sure right now.

Carefully, so carefully, he tugs off his mask, both wanting to see his face for real and knowing he should see how bad the damage to his throat is. It catches him off guard at first, how gorgeous he is, and then how young, despite Jarvis already showing him both of those things earlier. He’s still marveling, though. Could this really be his soulmate? Oh, what is he going to do?

He forces the thoughts away for a moment, checking Peter’s throat. It’s ringed with finger-shaped bruises, but it doesn’t look too severe. He leans his head down, listening at his chest. Now that he’s got proper airflow back he doesn’t seem to be wheezing or otherwise struggling to breathe. So he should be fine.

Fine, physically, except for the fact that he’s Tony’s soulmate. That they’re branded together now, a link between their very souls keeping them from being able to end this in a way either of them would have imagined.

It’s funny. With how long he’d wanted this, he should be ecstatic. Instead he’s just… numb. A whole host of emotions rages inside him, and he can’t allow himself to acknowledge any of them until he figures out what to do.

For now, there’s only really one thing he can do. His soulmate is hurt, in more ways than one. He needs medical attention, to a certain extent, and they need to talk. Waiting around here until Peter wakes up isn’t going to be ideal for fixing either of those things.

So he bends down and scoops Peter up, cradling his unconscious form close to him. Then, with a tired sigh, he takes to the skies again, carrying them back towards the tower, glowing in the distance like a lighthouse in the sand, beckoning him to shore.

He has a feeling actually finding the shore is going to be a long time coming, but this is the first step he can take to finding it. He just hopes they’ll both be able to tread through these rough waters long enough to get there.

[sibyl-of-space]

Final Fantasy IX ~ Melodies and Memories

"Jesters of the Moon"

There are a lot of very good video games in the world, but it takes some luck and circumstance outside of a game's control for one to reach me at just the right time(s) and place(s) in my life that it has a tangible impact on who I am -- who I want to be. One that carves out a space for itself in my soul that will never be removed or replaced.

I've just finished playing Final Fantasy IX for the first time, and there's no doubt in my mind that such is the case here.

(Continued below readmore.)

I drew this art last year, when I was mourning my attachment to an old favorite game that I just don't feel the same way about anymore: Majora's Mask. I wanted to draw something that captured my feelings about it, because sometimes art is the best way to talk about something when the words don't want to come.

Why is "Jesters of the Moon," the name of a random song in the Final Fantasy IX soundtrack, plastered in the middle of this Majora's Mask fanart? Especially considering I hadn't even played Final Fantasy IX yet when I drew this?

The reason is exactly that "luck and circumstance" that allowed me to fall so uniquely in love with the game.

"Mt. Gulug"

In 2008, someone on YouTube uploaded a Majora's Mask parody-slash-let's-play series called "Majora's Mask: The Things Which Were Taken Out." The series has since become unlisted and won't be linked here out of respect for the creator who probably doesn't want things they said and made in 2008 being spread all over the internet, but because of Unregistered Hypercam 2 reasons, the series inserted other background music over the video and didn't record the actual game audio.

I didn't recognize any of the music, but I watched these parody videos on repeat because in addition to being funny (...at the time, in my mind, at least), I really really loved the music. It got to the point where I would sometimes be playing Majora's Mask and get disappointed when I approached Goht and the Mt. Gulug theme wasn't playing in the background.

I had forgotten about these videos for a really long time in the interim, but I remembered them at some point when I was thinking about Majora's Mask and I found them again. The creator had cited the Final Fantasy IX soundtrack for virtually all of the background music used in the videos, and I realized that despite knowing literally nothing about the game, I had become really fond of - and weirdly nostalgic for - the songs from it that I now recognized.

So I looked up "Jesters of the Moon" and played it on repeat while I drew out my feelings in colored marker. A few months later, I realized that my backwards compatible PS3 can also play PS1 games, and eBay had FFIX for PS1 at a good price. I had nothing to lose by ordering it and seeing what the source of all that fantastic music was like.

"Vamo Alla Flamenco"

I started my playthrough knowing nothing about what to expect from the game. I'd never played a Final Fantasy game before and my overall JRPG experience has been mostly limited to Tales of, Persona, and more recently, mainline Shin Megami Tensei. The only things I knew about Final Fantasy were a) the Tidus laughing scene, and b) Sephiroth. IX seemed like it had vibes I would enjoy, but beyond that I knew nothing about what the experience would be. So I approached it with a "let's have fun and see how it goes" attitude, naming my party members the first silly thing that came to mind, ending up with "Swaggy," "OwO," "Bitchin," "Gunz," and "SWOOORD" to start with.

(For the record I do not regret those names whatsoever.)

I was immediately struck by how differently the game uses music in comparison to all of my previous JRPG experiences. This was not a game where the composer was given a list of theme songs that were slapped on top of a mostly completed game-- this was a game constructed with the soundtrack in mind as a part of the writing process.

The opening act plays almost like an opera (side note, yes I know one of the other FF's has a literal opera, I haven't played that one): you traverse the same locations from different perspectives as different characters, introducing the cast with lighthearted humor and dramatic irony out the wazoo. While you traverse the city as OwO, OwO's theme is playing in the background, coloring your perspective of the city and the narrative. When you switch to Gunz patrolling around the castle, Gunz's theme accompanies your movement and informs his character and mission. I am so accustomed to "location themes" being the norm in virtually all video games that experiencing character and/or narrative themes as BGM instead while I bumble around town changed my entire perspective on what music in games can do and be.

The operatic feeling is definitely intentional, because the game uses a play-within-a-game narrative device to hit you over the head with its themes in a way that is somehow poignant and artful while also being extremely blatant. That is a hard balance to strike, but it manages. The whole game is like that: it is completely straightforward and tells you exactly what it's about at heart, but it does it beautifully.

At any rate, I was enamored with this intro and had a very fun time, but I wasn't obsessed or anything and ended up putting it down. I spent several months on the first half of disk 1 with weeks passing between play sessions. I liked the game plenty, but life stuff happened and I decided to get obsessed with Dai Gyakuten Saiban and Ghost Trick for a while. No regrettis.

It was already clear, though, that FFIX was going to be special to me. My compositions for my team's game in the Global Game Jam in 2021 were directly inspired by FFIX's opera-like intro. I wrote two character themes for our game that would serve as background music when you play as the two protagonists, coloring your journey differently even when moving in the same spaces. I was intentionally trying to mimic the way music is used in FFIX as an exercise. The themes I wrote are definitely some of my strongest work so far.

(You can check out the game here if you want, I promise it is significantly shorter than Final Fantasy IX.)

"Melodies of Life"

Music caused me to pick up FFIX the first time, and music caused me to return to it. After months of not touching or really thinking about it, just earlier this week I was inspired to play it again, because - again - I listened to the right song at the right time.

I was again mourning the loss of something, in this case a friendship, for reasons I'm not going to share here. I had already heard the song "Melodies of Life" because it came up when I was looking up FFIX songs to reblog on Tumblr a few months ago, and I decided to listen to it again. Even without knowing the game context, the song itself really spoke to me in that moment: "a voice from the past, joining yours and mine, adding up the layers of harmony" - it kind of made me feel at peace with the fact that I had a lot of positive memories of that friendship and I could keep those at heart while also moving on in the present. ...I'm also a sucker for music metaphors, so there is that.

I was really moved by this song, cheesy as it is, and I was also definitely in the mood for a distraction. Picking up FFIX again felt like the best move.

It was, and my life is forever changed.

The game never stopped being beautiful and funny and touching, and the soundtrack never ceased to amaze. I recognized concepts I've seen in other games but never had I seen them used so artfully. I adored the fantasy world and non-human cast, I found myself enticed by random encounter for the first time because it made me feel like I had to struggle to survive a difficult journey. Music, gameplay, visuals, and story felt like one cohesive work of art for the entire duration.

Life circumstances got me to play the game again, but the game itself was so captivating and wonderful that I binged the entire rest of it - disks 2-4 - in less than a week. Everything else that the game had to say, it told me itself, in its own context, and I was ready to listen.

"You're Not Alone!"

This is going to make me sound like an emotionally-stunted twenty-something, but it has been years since a work of media has got me to have a really good cry. I used to cry playing games all the time as a kid but recently I'll find myself getting emotional, sure, often tearing up, but getting completely red-faced and snot-nosed because I physically cannot contain the emotions being evoked by a work? Years. I can't honestly tell you the last time it happened with certainty.

I feel like an emotional band-aid has been ripped off. I was f*cking sobbing during the entire duration of the "You're Not Alone!" sequence. It didn't matter that what was happening was obviously coming from a mile away, because the delivery was so raw and emotional and human!!! A whole game's worth of Swaggy punching first and asking questions later to save his friends, being Protag McProtag endangering himself for others in any and all circumstances, for the payoff of all of his friends forcing him to stop being such a primadonna and let them help him for once. It's true, too! He relies on them just as much as they rely on him! And the game doesn't just tell you this, no, it lets you try to solo all these fights and waits until you realize how boned you are until they come bail you out.

When Bitchin showed up with her "looks like you need a hand" I wanted to straight up yell at my tv. YES I DO!!! YES I DO NEED YOU BITCHIN!!!!! THANK YOU!!!!!!! I half knew that SWOOORD was going to heal me before I got truly KO-ed but I had been unmercifully wiped in "unwinnable" battles before in this game, so I legit thought I might have to re-do that whole part of the game again, and I was so relieved and thankful when she showed up and healed me.

This moment exemplifies everything that I adore about this game. It doesn't just tell you its story. It shows it to you, it sings it to you, and it and lets you play it out and feel it for yourself.

"Game Over"

This song is all too familiar to me. Gizamaluke's Grotto was very unforgiving for a first-time Final Fantasy player, especially one who didn't happen to pick up Big on the way for a fourth party member early on.

I hadn't heard the piano part in a few months, though, because when I picked the game back up I started just mashing to reload before it got to that point any time we wiped. I didn't hear it again until the game was truly over, this time for good.

I let it play for a while. Not too long, because I have a CRT TV and didn't want "The End" to get burned in. But a while. Enough to meditate on what I'd just experienced, and how I was feeling about it.

There's so much more to say about the game, far more than I could put in a blog post. But I don't think I need to describe these thoughts in words. I can do what the game did, and use music, use art, use stories, use metaphors, and use symbols to communicate what I mean; and hope that someone else is able and willing to listen.

And although a written record of my thoughts likely won't be preserved for all that long, maybe the feelings and the memories will be, so long as they have been shared.

[bittertoastmarket]

Okay! I was tagged by the amazing @a-death-like-icarus to throw up some cover art and talk about my fave music. I honestly listen to mostly playlists that I've made so I tried to lay out albums I grew up with or enjoy every song of, but this was way hard lol.

(Forgive the format I am on moble)

You're Awful, I Love You by Ludo: This was the first band I ever saw at Warped Tour which was my first concert! I genuinely love this albumn and love that half the songs are love songs and the rest are huge fuck yous with ukulele solos. My first tattoo were song lyrics from their song Topeka.

Lest We Forget The Best Of by Marilyn Manson: I actually originally got this album in secret as a young teen because my mom was very anti Marilyn Manson. I was so paranoid about her finding it that I recorded it over to A MIX TAPE I SHIT YOU NOT that started with 3 Days Grace so she wouldn't find it. It was so worth it to me at the time.

Discovering The Waterfront by Silverstein: This album single handedly got me out of a really abusive and horrible relationship. Sounds stupid but i was really lovedrunk about the guy but I couldn't figure out why I was so unhappy. The song that holds the album name has a part that goes like this: Pretend it's not forever, I'll pull myself together I'll say that I'll forget her, I'll breathe. And I'll say she never hurt me, And look at it as learning, And laugh about the good and the bad. Because I won't live forever We don't belong together, I know I'll feel better, One day when I can make it through.

It helped me realize that losing love I thought I wanted was okay because he was awful for me and wouldn't change but one day without him I would be fine. Just needed that shove.

A.M. by Arctic Monkeys: this almost didn't make the list because I wanted to put What Seperates Me From You by A Day To Remember, but this album was my driving soundtrack back when I was in a really low place after said bad break up. I would just aimlessly drive around Boise, Meridian and Kuna just trying to run away from how I felt but I would always end up in Swan Falls watching the sun set while listening to this albumn. Very good for my dramatic ass.

This is when shit gets fun!

One Of Us by Mystery Skulls: I actually loved his first albumn a lot but this is the one I got to see him in concert for first. My boyfriend showed me his music, somehow I missed the Ghost music video that everyone loves, and when we saw him live I realized he was traveling with his childhood bff and his girlfriend. Both of whom are also in good bands and you get a really nice comradery vibe from their live shows. I followed them to two concerts this year. It was dope af.

UNDERTALE Soundtrack by Toby Fox: Alright, I know almost everyone loves UNDERTALE, and for good reason, but something about Toby Fox and his amazing music talent really resonated with me. He has become a really big inspiration for me and I ended up loving his characters so much I got a Flowey tattoo. Mostly to remind myself that there are multiple paths in life and sometimes even the most well meaning of characters can become soured by their own greed and misery but everyone deserves another chance and can grow up and see how they have negatively impacted those around them. Plus its a poppin album that makes my anxiety melt away. If DELTA RUNE had been longer I would have chosen that one because it's going to be something fantastic I can feel it lol

Studio Killers: Alright, if you haven't heard Ode to a Bouncer, fuck off right now and go listen. This whole album is amazing and I just recently found out that its four people and an animator who makes all their vlogs and MV and shit. Which is really fucking cool because they produce almost all of their own shit. I like that they're set up like the Gorillaz where the band is actually created personas. And their personas are hilarious.

A Break by Phangs: okay so Phangs is the childhood bff of Mystery Skulls and he as a person is really fucking amazing. I got to meet him at the last concert and his music reminds me of the one scene from George Of The Jungle where George is dancing with his lady and its all romantic and airy feeling. It's pretty chill music, you can tell live that he has a lot of passion for what he does and even tho the album is hella short the two bangers on it are legit. I also got to see him do a cover of Eye to Eye from The Goofy Movie so you know he's a feel good artist.

And lastly Pop Food by Jack Stauber: I like just found his music through my weird ability to make obscure playlists on GooglePlay. Honestly it's just hella chill and Oh Klahoma gets stuck in my head so fucking bad but in a good way. This album led me to a lot of Synthwave I ended up enjoying a lot but as a whole album I had to go with this one.

[idontneednofuckinhug]

My 2018 Top 15 albums of the year

2018 was a stupidly productive year in terms of music, the last time there was this much quantity and quality of great projects and artists was probably the early 2010s when a lot of the current crop of big names were only just making a name for themselves. As a wannabe music critic I figured I'd enjoy writing and sharing the albums I've enjoyed the most this year - when I started making the list I realized exactly how much dope projects there were this year and how hard would it be for me to rank anything outside of my top 5, as I knew that was my top 5 before I even started making the list, but everything else was a nightmare. A lot of great projects, from some notable artists at that, were left out and honestly people would probably throw shit at me for some of the inclusions in my list. It's a list with a lot of musical styles and with a mix of proven artists and artists only just starting to make a name for themselves. Without further ado, let's start this list - I'll keep it brief for every album, whilst still trying to give the exact reason why I loved it.

15. J. Cole - KOD Never in my life did I think I'd rate a J. Cole album as one of my favourites of the year, I always called him a corny, fake-woke nigga who I just couldn't enjoy, because of wack bars like "You can't outfart me". Well, I was proven wrong, this year the guy made a complete 180 in the rap industry and proved people like me wrong. The project included a lot of trap beats, something completely new for him and was kept very minimalistic in terms of lyrics, whilst still making a great point and making comments on social issues, especially on songs like ATM and Kevin's Heart, discussing the curse that is money and how hard it is to be faithful nowadays. Genre: Conscious trap/Conscious rap.

14. Kali Uchis - Isolation Although she's been around for a bit, Kali Uchis's music still sounds very raw and she's still trying to find her sound in my opinion - and that's what I love about her. Isolation isn't an album you can put a label on - from Spanish pop, to RnB, to neo soul and even some hip-hop and funk, this album has everything and it's beautiful. Kali shows off her sexiness, whilst at the same time she sings about still being young and unsure about where she's going in her life, and about some of the decisions she wished she didn't do. The album is beautiful from start to finish, and although there are some blips ( I honestly didn't like the song with Gorillaz too much), I absolutely loved the passion and energy in this project. Genre: Pop/Rap/Funk/Neo Soul/ RnB/ Folk?

13. Sylvan LaCue - Apologies in Advance Probably a bit forgotten by most people since it was released on the 12th of January and because Sylvan is still relatively underground, AA is a very deep and emotional project, complemented by very jazzy and mellow production. Sylvan made an amazing concept album, showcasing the emotions you'd feel in an AA(Anonymous Alcoholics meeting), even adding 12 interludes for each step you have to take in such a meeting. The album promotes opening up about your inner demons and self-love and honestly I can't get enough of it even a year later. Genre: Jazz rap

12. Sons of Kemet - Your Queen is a Reptile An album I only just found out about, but one of my favourite jazz projects of all time after listening to it tens of times in the last week. Sons of Kemet don't seem to wear any influences on this album and have a completely unique and avant-garde sound which reflects on the album as a whole. Some parts are very mellow and traditionally jazzy and out of nowhere the song just picks up speed and starts adding tradionally african sounds, creating the feeling that you're back in the 19th century, hearing the immigrants from Africa playing their instruments. Each song represents a strong black woman from history and the album has lyrics discussing black plight. Genre: Avant-garde jazz/ Experimental jazz

11. Earl Sweatshirt - Some Rap Songs It's been a really hard year for Earl. His dad died and he never managed to amend their relationship, which was the original plan for SRS. I was very used to the typical Earl sound from the early to mid 2010s, mellow beats with very dark lyrics, with him changing flows up and making the english language his bitch. Nope. This album showcased a completely new Earl, with beats you'd never think he'd use but when you listen to him, you still know it's Earl with his crazy rhyme patterns and disgusting wordplay. The album feels like an acid trip from start to finish and my favourite Odd Future member manages to open up about his inner demons once again, and once again doing it amazingly. Genre: Hip-hop

10. KIDS SEE GHOSTS - Kids see Ghosts Out of nowhere, Kanye and Kid Cudi dropped a collab project, part of Kanye's five-drop in May and June. I wasn't expecting much as Cudi had disappointed me with his last few projects and I didn't really feel Kanye's "ye" too much. I was wrong. This album was amazing. Two people struggling with mental illness and loving themselves came out with an album with a completely new concept to both of them, discussing self love and redeeming yourself, finding what you love again. The album has this inspired production, which sounds like nothing I've ever heard, best described as psychedelic hip-hop or even rock. Although only 10th on my list, you need to listen to this album, because it's absolutely remarkable. Genre: Psychedelic Hip-hop/ Psychedelic rock?

9. Playboi Carti - Die Lit A lesson in minimalism. People have been biting Carti's style the last couple of years, whilst at the same time he's been getting a lot of crap for his lack of lyricism and the simplicity in his music. Instead of listening to all of the haters, Playboi Carti came out with a project which I'd say nearly perfects his style and what he's so good at - he lets the production and beats shine, having very minimalist lyrics and employing a vibe and energy no other trapper could create. He also mocks the people hating on him on the album with lyrics such as "Bought my mom a house of that mumblin' shit", reminding everyone where he's exactly at. Genre: Trap

8. Rico Nasty - Nasty I swear people forgot about Rico Nasty this year, although she released one of the most energetic and aggressive trap projects and honestly, bodying anything Nicki or Cardi dropped, quality wise atleast. She completely embraces her "different" persona on this album, having songs titles like "Bitch I'm Nasty" and having lyrics such as "Goodness gracious, I might give a fuck on some occasion". The album is full of this angry energy, making you want to go and break a door, whilst at the same time having witty and even humorous lyrics which keep your attention. Keep an eye on this one. Genre: Trap

7. Anderson .Paak - Oxnard Honestly, not as good as Malibu or Venice for me, but considering how high it is in my list, I think you can figure out exactly how great Andy is. This album really rejuvenates the spirit of funky and soulful hip-hop, with Paak keeping his carefree persona. It's full of groovy energy which makes you want to just dance and let go, whilst at the same time having some very funny skits and powerful and even aggressive moments. Whilst in his previous projects he had a very laid-back vibe, in this one Anderson .Paak shows us he's made it, and pretty much throws the funk and blues in your face, making for a very energetic, but relaxing listen. Genre: Hip-hop/Jazz rap/RnB/Funk/Soul

6. SABA - CARE FOR ME A very emotional and deep project, the Chicago rapper finally got the attention he deserved with his 2nd album. The album is very detailed and melancholic, in it SABA discussing issues he has with himself, the lack of love he feels he receives and the need of warmth and someone beside him. The album has beautiful singy-song moments, including a song with BJ the Chicago kid, but whilst pretty, these moments are also very dark and disturbing, as SABA often slurs his speech in them. He also discusses some of his childhood memories on the project, showcasing the hardships of growing up in a city like Chicago and the roots of some of his deep trauma. Genre: Jazz rap/ Neo soul

5. Denzel Curry - TABOO/TA1300 Dark. Angry. Powerful. Beautiful. Scary. This album has everything. The rapper split the album into three parts, which although a very new concept, proved to be a genius one. The light part of the album, which he starts it off with, shows him working on his happiness and showing everyone that his life is good and he's achieving his dreams. The second part of the album, Grey, showcases him reflecting objectively on the people hating on him, the hardships and successes of his life and the reality of the industry. The album ends with the Dark part, in which Denzel shows all of his anger, metaphorically shouting at the listener about his drug issues, about the people trying to tell him what to do and wanting to even go as far as murder. Genre: Trap/Hip-hop

4. Jpegmafia - Veteran Daaaaamn Peggy. The nigga who gives no fucks about anyone's feelings got it right. Already receiving some attention for absurd songs like "I killed a cop, now I'm Horny" and "I'd vote 4 Dona Trump", Jpegmafia made an experimental hip-hop album, consisting of raw energy and aggresiveness in some parts, and mellow and thoughtful production in others. The album has absurd samples like ODB screaming, WWE's Edge's soundtrack and guns reloading. Peggy raps about topics from wanting a nigga to test him, wanting to hear Yes Julz moan, addressing the people telling him he sold out and and even saying he doesn't care that Neogaf is dead. It's a genius work of art exploring the twisted depths of an army veteran's mind. Genre: Experimental hip-hop

3. Noname - Room 25 One of the softest and most soulful hip-hop albums of recent times, Noname once again proves how genius her lyrics can be, whilst keeping a jazzy vibe. The album is full of small details, from the proudction to the poet's lines telling the story of her life, from the beautiful to the ugly. Although at some points you can call her rapping rambling, she does so in a very soft and feminine way, reeling you in to actually want to hear more of her story, instead of being annoyed she isn't stopping. Full of relaxing and mesmerizing hooks, this album really reminds of the good old-school jazz vibe, mixed with genius storytelling and lyrics and keeping a fresh and new vibe to it, very much reminding me of A Tribe Called Quest in some regards. Genre: Neo Soul/ Jazz-rap

2. Armand Hammer - Paraffin Honestly this was my album of the year until the last few weeks, when a certain other person decided to finally drop his project. Billy Woods and Elucid once again go into the dephts of being a working-class rapper, with very hard hitting production, which although minimalistic, projects a very scary and even tiring vibe a some points, portraying what it's like to live life in a regular way. Full meaningful lyrics, and having some some very memorable hooks like "You don't work, you don't eat", Paraffin is an artistic expression of how hard it is to be an artist, whilst being unable to make enough money off of your art. Genre: Experimental hip hop

My honorable mentions, which sadly didn't make the list but were amazing projects still: Jorja Smith - Lost & Found; Pusha T - Daytona; Amine - ONEPOINTFIVE; Hermit and the Recluse - Orpheus vs the Sirens; Rae Sremmund - SR3MM; Rejjie Snow - Dear Annie; Sheck Wes - MUDBOY

1. JID - DiCaprio 2 I've known JID was next up for a year and a half now. He proved it in his last album, he proved it in the XXL Freshman class and he proved it with DiCaprio 2. Having the swagger and a nasally voice of a young K-dot, whilst having his own style, an absurd ability to switch up and create flows on the go, wordplay and lyricism which could rival even Ab-Soul and one-liners that stick like glue, JID released arguably the best project this year, hitting a mark as much as projects like Section.80 for me personally. Full of amazing production, from aggressive and trappy beats, to boom-bap, to jazzy rap and even having moments in which he sings. The Atlanta rapper comletely murders every beat, outraps every feature, including guys like Joey Bada$$, J. Cole, Method Man and 6LACK and makes 2018 his own with a project which in my opinion, will age like fine wine and will be remembered as the moment a modern legend was born. Genre: Jazz-rap/Conscious rap/ Hip-hop

[billie33n8366-blog]

Rock Music (Yes) Or Pop Music (No)?

Music actually started to separate into completely different categories throughout the Trendy era (1910-2000). That mentioned, everybody these days should be aware of the truth that songs are getting an increasing number of similar-y. Here is a video courtesy of ThinkTank speaking about how science is starting to quantifiably show that pop music is getting worse and that originality is getting increasingly more rare these days in in style music. In a while Rock and Roll style entered the scene and that fashion was additionally included and amalgamated in the pop music. Latin music was additionally adopted after which came the most recent development which is well-liked until date. That type was the novelty song which was based on comedy, humor and straightforward lyrics which will be understood easily by everyone. But I still have issues with it, www.magicaudiotools.com all the identical. Lot's of individuals complain that current pop-music is bad, and I don't think they're wrong. By definition they aren't fallacious, because pop music is meant to have broad in style enchantment and it increasingly fails to do so. There was a flavour of conventional British music corridor in two playful songs from 1975's A Night time At The Opera - Seaside Rendezvous and Lazing On A Sunday Afternoon. But on the next album, A Day At The Races, Freddie turned that influence into a success music. As its title instructed, Good Previous-Customary Lover Boy was Freddie in sweetly romantic temper. And I will say it, the mainstream nation music viewers and important press is partially responsible for this. If they don't seem to be keen to name mainstream country on its bullshit (which this web site does and I try to do as the only country critic on YouTube), then this shit is going to maintain occurring and it's going to keep selling until the pattern dies with my demographic and we all get sick of it. The present bubble isn't sustainable, and it's only a matter of time and larger numbers of individuals clicking in before it implodes. This is a simple one. However if you'd like a study to show it, we've got it When in doubt, don't accept simple listening restaurant background music. It should decrease gross sales of your food and drinks. In case you'd classify a track as elevator music, maintain it off your playlist. Oddly, given PoP's musical preferences, one of many label aspect's first signings was an Iron Maiden-ish hard rock band referred to as It is Alive, fronted by an extended-haired glam-rock singer named Martin White. PoP noticed that White — who, regardless of his metalhead persona, had a secret love of pop music — was a genius at crafting melodies. In his revealed medical report, Goergen famous the existence of a big, lovely, vaulted salon in his sanatorium designed for gatherings, carefully directed conversations, games, and especially for musical and literary shows acceptable for Gemüthskranke (see Goergen, 1820 , p. thirteen). In 1831, Goergen relocated his non-public sanatorium to Upper-Döbling, now in Vienna's 19th district. Nicolaus Lenau, who based on Ludwig August Frankl had the vision of a new music therapeutic system," was one of many sanatorium's most distinguished patients. He died in Goergen's clinic in 1850, then headed by Bruno Goergen's son, Gustav. Enjoying the soundtrack alone is a distinct experience. If the track (words and music) is good you will hear things you did not discover when viewing the video. If the monitor was only a machine to keep your ears busy when you watched then, as a music monitor, it will fall flat. 1. What's timbre? I know this myself (I've studied music concept), however the common Joe has no clue what it means. The example I personally use is that a A#5 on a piano sounds completely different than a A#5 on a flute. Timbre is what compromises the variations. Almost all Pop hits characteristic a strong, regular rhythm groove. That is how songs connect with listeners in a bodily manner. A rhythmic groove also expresses the perspective or vitality of your tune. There are dance grooves, strutting grooves, bluesy grooves, sad grooves, completely satisfied ones. Let the groove information you into your tune by suggesting words that match the mood or attitude. Music is available in many differing types and styles ranging from traditional rock music to world pop, simple listening and bluegrass. Many genres have a rich history or geographical significance, a cult following or music roots that go far beyond the twentieth century.

Within the final decade, East Asian media flows and connections have intensified. Media markets have rapidly expanded and transnational partnerships have been closely formed amongst media companies which pursue advertising and marketing strategies and joint production ventures spanning a number of completely different markets. The circulation of well-liked tradition is now not limited to the nationwide borders but finds a broader transnational acceptance within the region, resulting in the formation of new links amongst folks in East Asia, especially the youth. This trend has proven no signal of letting up. Asian markets have grow to be much more synchronized, East Asian co-projects in movie and music have change into more widespread, and singers and actors from across the area are engaged in activities that transcend national borders.Recognition - the state or situation of being liked, admired, or supported by many individuals. Subsequent, the songs had been sorted into subgenres via tags created by the 50 million users of , a UK-primarily based music discovery web site. (Mauch was working at in 2010 when he started to review the evolution of pop music with biologist Armand Leroi). Moombahton is a funky style that performs off of a fusion between home music and reggaton. It's one of many latest kinds of music that even those who assume they don't like EDM can take pleasure in. It will have you salsa dancing your approach downtown, and DJs like Dillon Francis find it irresistible as a result of it was created fully on accident at a home party one evening a number of years back.Though higher often known as a member of Saint Etienne, Bob Stanley can also be an experienced music journalist, and little doubt has a document collection to die for, which makes him the perfect candidate for the job, and with the perfectly titled ‘Yeah Yeah Yeah' he does not disappoint. It is a massive book that does an important job of describing the very best in pop music. His intention is to tell the whole story (inside sure parameters) and on the similar time to distil pop music into its purest kind, so that we'd come to a better understanding of pop and to give the respect it is due as an artwork kind.

[kylydian]

Music and Cross Art Discipline in Games: Bridging the Gap

Video games take a lot of different artistic disciplines and make something cohesive.  That might have been the most redundant statement I’ve ever said... In video games, you have developers, writers, artists, composers, sound designers, modelers, marketers and oh so many people who add artistic direction to the vision. Many times, these disciplines come together to create something amazing, but so many times does it feel that music is just added on top.  I believe that the music of a game should encompass all that a game is, and that the game should also encompass all that the music is.  The same could be said about the art and music, or art and game, or story and music, or any combination of disciplines!  The game wouldn’t exist without the art, so likewise should the game not exist without music or purposeful lack of music.

Now I just sound pretentious….

Artistic disciplines have been combined for millennia, most notably through dance, drama, and music, but now have expanded to encompass all art forms within the last couple centuries. However, video games are an extremely new medium in the annuals of time.  So often do you play a game that has good music, but has music that simply exists.  While this music may be great, all too often does it fall back in our mind as we dismiss the soundtrack.  But what about the great soundtracks?  Why do we remember soundtracks that are deemed incredible?  I’m of the belief that we remember these because they present music as being equal to everything else in the game.  It’s almost like the music is so present that it’s fighting the art, sound, story and the game itself, while also working together with them to make a better product.  

So how do we achieve these seemingly effortless mergers of the arts like you see in Super Mario Galaxy, Nier Automata and Persona 5?  There’s many ways to do this, but I think most people’s gut response would be through trial and error.  Don’t get me wrong, trial and error are part of it.  But I think there’s something more.  Something less obvious.  You can understand art without actually understanding it.  In cases like this, if we look on the surface we’re already dooming ourselves to the same monotony that so many other games fall into musically. I think the answer lies in understanding each other.  

As composers, we have an idea of where we want music to fall in the spectrum of a project, but developers also have an idea about this.  We need to understand the visions of developers, and where our music falls in a creation mindset within the world we’re creating.  However, this is pretty obvious.  We’re hired to help bring a vision to life.  The key to a breakthrough is that developers also need to understand the vision of the composer.  Composers have an idea of how a game is going to sound, and there needs to be a supportive back and forth between dev and composer, between dev and artist, and even between composer and artist.  Everyone needs to have the same vision.

There’s an incredible GDC talk from Mick Gordon, the composer of the 2016 reboot of Doom that describes this relationship much better than I ever could. 

To summarize it briefly, Gordon was presented with a very clear, but impossible vision.  The vision was so clear that he realized he needed to approach the entire project from a different angle.  When he originally thought he found the answer, he was told that his unique idea wasn’t good enough, but that he was on the right track and to keep trying.  This instantly validated the work, the person, and the vision while also allowing the developers to say that this wasn’t what they had in mind.  He went back to the drawing board and found the answer to the “Doom Instrument” that is heavily featured in the game.  In turn, the sound team said they didn’t want guitars in the soundtrack.  Slowly Gordon began to implement guitars into the soundtrack, telling them, “Guys this is Doom. You need guitars.”  He also had a vision of what the soundtrack needed to sound like. This is a perfect example of composer, developer, and the sound team working together to create something that was truly fitting.  The soundtrack to Doom 2016 was one of the most appropriate soundtracks in recent memory, and it wasn’t only because it was metal as fuck. The different teams worked together, and continuously verified each other work.  To make a cohesive game across the arts, taking the time to understand each other’s vision is absolutely imperative.  

The visual arts tend to not struggle as much in communicating.  Don’t get me wrong, it still happens all the time.  But if you think about the amount of times an average person looks at something critically versus listens to something critically you’ll notice there’s a huge difference in frequency.  If developers don’t like a model or a piece of art, they’re going to easily be able to say “Hey, I wasn’t really thinking that for the claw. I was thinking more of a tiger claw instead of a bear.” As humans, we pass visual criticism all the time, doing so somewhat accurately, even without a direct understanding of visual art.  That’s because it’s normal to us.  For music and sound though, not everyone is equipped with this skill set. Most people have preferences on music, and can tell if they like or don’t like a piece. But if a developer doesn’t like a track we write, it’s all too common to hear back “I don’t like this, I don’t know what it is, but something needs to change.” And as musicians we’re sitting here and are asking ourselves “Oh god. What did we do wrong? Was the melody bad? Maybe the harmony was repetitive? No that can’t be it, the harmony was pretty varied. Maybe the mix was unbalanced?  Did they not like the use of trombone over a more traditional string melody?”  And we have no idea what to fix or how to make our client happy.  Often when I reply back to responses like this, I’m greeted with something like “I don’t really know how to describe it. It was a little low.”

“What was a little low? Was the bass too soft? Should the melody be higher? Do I need to put it in a higher key?” Our thoughts race again, until we ask:

“What do you mean by ‘a little low’?”

“I don’t know, you’re the composer.”

This is so counterproductive.

When talking with developers, I find it very beneficial to set up some key terms about music that make communication much more effective.  These can vary from vocabulary terms, musical ideas, instruments, genres, or literally anything about music.  I’ll generally try to establish different key terms depending on the project, because each one is different.  

The situation presented above might have been prevented if we took the time to talk with the developers to find a mutual understanding about music.  If we had done this, the first time they might have been able to say “Hey, I thought that the lowest bass instrument was pitched too low. Could you maybe bring that up a bit?” This is much easier for us as musicians to understand.  By this we instantly know that that our lowest instrument was too low in pitch, and that we might need to bring it up an octave.  Obviously, this still isn’t too specific for composers, but we now know what the problem is, and we can devise a plan to fix it.  

And granted, sometimes I don’t have to do this!  One thing I really liked, was about a month ago someone I’m working with told me “I’d really like it if we could begin to implement some leitmotif ideas into this track.”

Bam.  That’s a winner right there.

But just imagine what would have happened if the developer didn’t know how to articulate this.  I don’t want to think about it…

And this same kind of tactic can be employed with all types of disciplines within the game industry. The music should compliment all other forms of art in a game.  When possible, I like to run the music by everyone in the team to get their opinions. There’s going to be one person who has the final say, but if everyone is aware of what you’re doing, I think it’s beneficial for the entire team.

I try to start writing music only after I see visual art for what it is I’m writing for, and a plot summary for the game or scene.  I can’t do this at all times, but I feel that my music is much more appropriate when I’m able to do that.  In turn, my music then can influence the art and gameplay.  

Granted this is just what I prefer to do, everyone has a different process.  

So. Takeaways

For Developers

· Communicate your vision with everyone on the team

· Listen to everyone else’s take on the vision, but remember in the end it’s your project

· Validate the work of not only composers, but every creative discipline

· Provide pointed and directed feedback

· If you don’t understand how to articulate something, ask your creatives for advice

For Composers

· Writing truly fitting music comes from sharing the same vision as the entire team

· Take the time to understand the vision of everyone, and also make your        interpretation known

· Educate those who aren’t able to provide detailed feedback on music or sound

· Be flexible on the needs and wants of the team

What it all boils down to is understanding the vision of the team.  Everyone will have opinions on what the project should look like, but to create truly immersive experiences that I would call complete packages, everyone needs to have the same or a similar vision.  Communication and education is key for creating industry defining games.

Games are shared knowledge, and shared dreams. Make them that way.

We’re creators, let’s create something great.

[talk-time-live]

TALKTIMELIVE.COM EXCLUSIVE with YEO: by Daxavier Josiah

37 years game developer Vadim Gilyazetdinov from Moscow, Russia, goes by the name “YEO”, which is a nickname he came up with in his school days while achieving a high score in a racing game. The name also pays homage to his appreciation and fandom for the Japanese culture. 

YEO has a passion and ambition to bring his narrative to life in the form of his favorite fandom which is video games. This led YEO (and his team) to create one of the most compelling retro 2D open world games out now for STEAM and recently Nintendo Switch called “The friends of RINGO ISHIKAWA.” which has received much praise by fans and media. I had the opportunity of talking with YEO about the creation of this title and more more. 

DAX: Where did your journey begin as a game developer?

YEO: I wanted to be connected with game development since University (I have a master’s degree in chemistry) but I didn’t know how to code and I couldn’t draw (I believed that I was good at writing dialogues though) so I applied to some Russian game development companies for any minor junior role they had but they just ignored me. It was no wonder since I hadn’t any work experience.

I started to work at some government company and in 2006 I was introduced to Game Maker 6.1 by my colleague and close friend with whom we run first Russian Nekketsu fan-site. And I made some beat-em-up action with Kunio-Kun sprites in a week ) And it was like whole new world opened for me )

But I never thought that I could do commercial games. I was just having fun with Nekketsu of Mighty Final Fight sprites. I made some small games with them for my local web friends and for myself and most importantly for the process of doing it. Since I don’t believe in result too much, you could achieve it or not, but the process is what you got anyway, so if it was fun and interesting that’s more than enough.

DAX: How many people did it take to develop this game as well as how long did it take to develop it?

YEO: The Steam made possible for small developers to be introduced to the large audience. And when my fellow developer passed Greenlight and then successfully released a game in 2015 I started to think of doing the same. I had quite good and stable job as a team leader at the Moscow IT Government Department so I could afford to hire an artist at last. I never thought of it before though, that you can just hire somebody.

So, I started to look for an artist. Prototype of the game was ready. All these years I tried different battle mechanics with Nekketsu sprites, and literally honed my skills little by little. You can see how Ringo looked back then: 

I posted some job description on game dev forums and it started (“your game is shit”, “you’re a moron” “you’re paying too low” “you should better be doing some Russian aesthetics”, “it’s a dumb clone”, “nobody could do 60 backgrounds alone”, “you should hire a team”) It really was hard to get by. I read all these insults and recommendations for 2-3 months and then suddenly one man sent me a really beautiful background and I thought “no kidding? It could be a BG for my game?” That’s how we started to work with Artem “Wedmak2” Belov, a man who made my game even possible. 

Then I had to recruit a characters artist. And it was another 2 months of hell. And I almost lost hope already. I asked every real live person I knew who could draw a straight line besides web searching and all my friends refused. I even asked my 58 years old father and he opened some image redactor, looked at pixels, closed and said no.

I was walking with my mother one day and she asked about the game, how the things going, and I said “mom, I can’t find an artist, please, talk to dad, he doesn’t work, he has nothing to do, maybe he can try again, it’s not that hard” and she said, “I’ll see what I can do”. I must say that my father is no artist. But he’s very talented in different areas so I believed that he could handle it if he wanted to. And couple of days later I installed him the graphics gale and taught him how to choose colors and place dots. And little by little, step by step, he drew around 1000 frames for Ringo in next 2 years. 

 I tried to work with musicians also but we couldn’t get along. First musicians wrote 3 tracks that I love though, and they wrote final theme among then (the best track in the game), the band named “indian&fox”, very talented guys, it’s sad that they couldn’t do whole soundtrack. So, in the end, Royalty Free Tracks saved me. It was really months of listening and choosing tracks and it was really time-consuming (I was doing it at night usually when I was too tired to code) but I’m proud of the result. I also don’t care about them been royalty free. Almost any Tarantino’s soundtrack is Royalty Free. 

And it was guys who did translations but it could be too long to tell about them. I want to mention Dmitry Ostrozhskiy above all who did English translation. And also Guillaume Veer, and Indienova team for Chinese localization and Misa Sekiguchi Webb, Ueda M. and Chie Koizumi for Japanese. If I started to name one I can’t forget others.

And, I had 2 web friends who discussed with me everything and gave their opinions and insights all these years. I consider them as a team. stray_stoat and Mr.Chelnoque. They were there for me anytime I needed them. And while they didn’t actually write dialogues or code or something like that’s a core of my team. It’s really hard to go such distance on your own. Only some hardcore guys like Eric Barone is capable of that.

So I was doing Ringo and when I was watching some movies like “La-La Land” or “Joy” or any other dream related stuff I couldn’t look in their eyes cause they asked me “all right you had a dream and you found out what you really love and you’re good at it but have you done everything you could? Did you give it all? Did you risk any?” And I couldn’t say “yes” to any of them. But it’s the life without regrets that give you real freedom. 

When I said to my wife that I had to quit the job she wasn’t really happy about it. But she said “Do what you gotta do. We’ll manage somehow.” I didn’t have to quit my job to release the game. I could easily release it while still working; I had a lot of free time there. But I was a casino gambler in my youth days so I knew that you need to bet something if you want to win any. And you better risk high if you want a jackpot). So my career was the only thing I could bet actually.

DAX: The friends of Ringo Ishikawa is a very ambitious and free-thinking experience with no rules and direction. Can you talk about what led to this form of gameplay?

I usually reflect on everything I do so when I reflected on my gaming experience I noticed that I don’t play to win a game. I play to live in a game. I played it like this since ZX Spectrum’s Saboteur for example

I never passed 3 first screens in the game since it was awfully controlled and dogs killed you by touching but you could be a ninja in it. In the first scene a ninja sails on the boat, then he enters some building and then dogs and enemies appear). But I was pretending that I was a wounded ninja who’s going to a suicide mission. And I was sailing in the boat like in a movie. So I was walking fearlessly and dying like a warrior. 

And I played almost any game like that. And on NES my favorites was Technos Japan’s Nekketsu series. All of them, but especially Downtown Nekketsu Monogatari (River City Ransom) and Nekketsu Kakutou Densetsu. You could live there. It was like early GTA game. Free roam/open city, usual daily activities. You couldn’t die also. 

And you had all other Nekketsu games as a part of one big Universe. So you could live in DNM, then switch to Ike Ike and play some hockey, then go fighting in NKD. I wished there was one big Nekketsu game where you could live and participate in different activities without changing cartridges. And I was designing one on the paper when I was at University. Just for fun. Just for “what if I could do a game someday”. And I wrote to notebook “You can smoke by pressing a button”. It was 2002 or 2004.

DAX: This has the definite essence of the classic 8-Bit series RIVER CITY RANSOM. Where there any other games that you were inspired by in the making of this title?  

Beside Technos games I was heavily inspired by Shenmue of course. That was another game of my dream. Martial Arts, Japan, snow flying right in the face.

Another obvious inspiration is Persona games, especially 3rd one. I didn’t like Tartarus part (though JRPG is my favorite genre) but the school part was perfect. 

My personal best (is) Final Fantasy 7. I believe it’s a perfect game and it inspires me every time I even think of it. You won’t see exact influences from it, but it’s there. For example, you could buy a villa later in the game (FF7). And by the time you could buy it you actually don’t need it. But it was something special when you just entered (the) menu and it said “Cloud’s Villa” in location’s name. Or you could hit a heavy bag in the basement. It didn’t do anything. You just could hit it. And that’s all.

DAX: Where there any coming of age/gang related movies, anime, or manga that inspired the creation of this game as well or maybe some past experiences growing up?

YEO: I think that everything you have seen and read and played is inspiring you and forming your sense of style and aesthetics. I was a delinquent myself, and a gambler addict, I used to box and kickbox and I’m still training, actually almost all Ringo movements are redrawn (not rotoscoped) by my father from my photos. So I wanted to share some personal feelings with players and I knew what I was talking about hard way. So I wasn’t look up to any manga or a movie actually. But I read and watched a lot, and I gave homage to some of my favorite works, Ringo can read some of my favorite books in the game.

Between youth gang movies my personal best is Korean “Once upon a time in high school”. That’s a real masterpiece, real masculine movie. I was aiming at this level of quality but I didn’t reach it. This movie is on another level. I hope that Ringo can still be compared to it.

DAX: You are obviously a fan of retro games, what were some of your favorites growing up?

YEO: I’m still playing retro games actually. I don’t really like new games and I hadn’t completed a game in 5 or 6 years. Last game that blew my mind was Way of Samurai 3. It’s a really awesome game. I didn’t like 4th game in the series and didn’t play first ones. But this game is something else. I also played a lot of EA Fight Night series, all of them are good and it’s a pity they abandoned the franchise. That’s my favorite “next-gen” games.

I like many PS one games, mostly JRPG: FF7, FF8, Xenogears, Wild Arms etc. There was some interesting CAPCOM beat'em up on PS2 I can recommend: Beat Down: Fists of Vengeance and Shinobido Imashime of course.

For real retro games, I still play first Streets of Rage from time to time, I beat it 3 or 4 times some weeks ago on Switch. My favorite straight beat'em up is Mighty Final Fight on NES though. I really love this game, it’s a gem. Also, I like Bucky O'Hare, Mitsumi ga Tooru, Double Dragon 2, Duck Tales. That’s my favorite on NES. Beside Nekketsu of course.

DAX: There are multiple ways to play “The friends of Ishikawa.” Is there one true way to play this game or did you have the idea of letting the player go to any direction they want and have different results?

I’m really tired of modern games that take you by the hand. If there’s a mini-map in a game you don’t look at the backgrounds, you play it on the minimap, so any game comes down to some white triangle moves to green circle which activates a cut scene, richly animated and directed, voiced over, cinema-like. Then you gain control over the character again and go to another green circle, sometimes you mash buttons between. I drop games like that in half an hour regardless the quality and graphics and wrinkles on the face when chars do smile.

I also tired of tutorial messages on any action. So I made only the basic ones in my game. So it’s easy to pick up like older games where any tutorials weren’t and there were 2-3 action buttons and you just tried everything. And I think its fun. It’s a kind of exploration. You try different things and see outcome and you investigate and when you discover something you really enjoy it and you feel smart and by doing it you (are) starting to feel connected to a character.

We argued about all this with mr.chelnoque and stray_stoat but I believed in my vision and positive reviews proved my point. I knew that there’d be many players disappointed that the game doesn’t give you any direction and you don’t know what to do etc. But I also knew that some players would love it for the same reason. And that goes for multiple endings as well. I considered different endings of course and at some point, it was even “A friend of Ringo Ishikawa” so you had to generate your character who was Ringo’s best friend from childhood and you could more role-play in the game, it was a date-sim part also. But then I decided to tell this exact story about this exact character with the exact ending. So some things just fell off. It’s not in Ringo’s character to have multiple girlfriends for example, so I gave up on the dating sim. And there were more sacrifices I had to do.

As for the right way to play it, on the contrary, I wanted players to play their own but to stay in a character. That’s why you can’t rob your classmates, for example, and you still have to fight in some scenes cause Ringo is a gang leader, after all, you can’t turn him into a complete nerd.

The whole game came from one final scene and I designed it backwards actually, I wanted players to really feel that very scene. I don’t want to spoil it though for those who didn’t complete the game. So I wanted payers to live in the game and to feel the ending if they care to complete it. 

DAX: What’s next for you? Is there any chance we will see a sequel following The Life of RINGO? 

YEO: I’d rather not do it and I have some reasons for it.

First of all, I’ve said what I wanted with this game. I also wanted to make a game with a generated character where you could really do what you want and have different endings (like Way of Samurai for example) but if I expand Ringo’s Universe his story could fade. And I don’t want to sacrifice it.

Secondly, it’s really common to make a sequel to a well-received game. And while it’s easy it could turn into creative chains, I want to be free. That’s why I quit my job also. To do what I want to and not what is best for business or others. 

That’s why my second game will be quite short also. I understand that some players have great expectations of my games but it also can drain creativity, fear of failure. So again I decided on what to do next just by listening to myself. "What kind of game you want to do now? What inspires you?” And when I captured setting and gameplay it turned out that I can’t do a long game with it. But gameplay is really good and I have one interesting idea also, and some thoughts I want to share. So I decided on what could be good for this idea to be properly told.

I want to try to stay creatively free for as long as I can.

I almost ready with this game, but Artem Belov (who’s in charge of BG again and he’s doing astounding work again, even better than in Ringo), he got married and got an office job so he (has a) lack of time now, and he draws slowly. And while I’m waiting for him I started to work on another project but it’s a secret for now. 

Thanks to YEO for taking the time to chat with me on such a great game. Be sure to check out “The friends of RINGO ISHIKAWA” available now on STEAM and Nintendo Switch (and Nintendo E-Shop).

[life-astudyofhypotheticals]

3, 13, 23, 33 💙🌸🦋🌹♥️🌺💐

Sorry it took me so long to answer!! I’ve been stuck out testing mode for the last two weeks🙃

3. Crush?

Ahhh, unfortunately I’m pretty boring right now and have a nonexistent love life (even a nonexistent imaginary one!). I’ve finally gotten into an emotionally healthy headspace after having a crush/being in like on the same boy for the last three years so I’m hoping to stay pretty crushless for a while. (Although, crushes are definitely pretty fun when they’re not serious lol)

13. Height?

I’m 5 ft 5 in and I wish God had given me that extra inch so I could have achieved my ideal height. Heels exist for a reason though 😋

23. Favorite Song?

Um what an impossible question? Honestly I’m almost always in love with something by Taylor Swift or Ed Sheeran any day so I guess I’ll answer this as any song I’ve been obsessed with of late that isn’t by those two artists.

Okay, so in English, I’ve been playing “Bellyache” by Billie Eilish a lot recently after playing my Spotify on shuffle.

In Tamil, I’m in love with “Kannaana Kanne” from the Naanum Rowdy Dhaan soundtrack because the lyrics are truly profound! I always go on about how Tamil music is worlds better than English because of the musical and lyrical quality that no other language music I’ve had the opportunity to hear seems to reach (and this song is always my go-to as proof)! Honestly even just listening to this while reading the translated lyrics in English is otherworldly ♥️

In Hindi (I don’t speak it but that never really matters when it comes to good music), I’ve been playing “Chaandaniya” from the 2 States soundtrack and this also an A+ song.

In Korean, BTS’ Map of the Soul: Persona Trailer is ruining my life currently and everyone should totally check this out before their album comes out.

33. Best day of your life?

Okay so I can’t really talk about the best day of my life without outing my IRL identity because it’ll be very easy to find me online if you search up the right things.

But I can tell you about a moment this past week that really made my day! I had applied to my university’s startup incubation center to be part of this very exclusive crew that works with startups to help them launch and I had applied to a tech start up that I was really excited about interning for. Within hours of each other, I got an offer letter from both of them and I got back my o-chem midterm which I had gotten 100%. My best friend of the last 8 years facetimed me unexpectedly and one of my college friends had gotten me ice cream just for fun. It was definitely the best day of my freshman year of college so far!

[linaliveshere]

My Top 15 albums

Music to me is a stress relief. It is something that reflects your mood, no matter how you are feeling. It transports you back in time, almost as if you are living and breathing in a different generation. Music liberates you, its helps you connect with the cores and values that you have and continues to help you grow. Music gives you the fondest memories, is the soundtrack to your life and much of the reason why we connect with others on an intimate basis.

For me, a university student who is at the cusp of starting the next chapter of her life, music is an incredible escape from reality. Over the years, my knowledge and acceptance of music has allowed me to collate and enjoy many artists of many genres. On twitter and Tumblr, I asked what you guys would prefer for me to talk about, and my top 15 albums of all time came in at number one. Below, with much difficulty may I add, I have sought out my top 15 albums of all time!

1. INXS: Kick

I honestly cannot fault this album in the slightest. INXS was such a powerhouse for Australian music and they bought our industry to the mainstream across the world. Michael Hutchence was such a prolific singer and songwriter, a true artist who could grasp the concept of emotion and reality and put it so well into a song. Kick was an album that kick-started (pardon the pun) the juggernaut, headed by the smash hit Never Tear Us Apart. This whole album from start to finish is pure genius, and honestly makes you feel like you’re on a never-ending roller coaster. If you have never listened to this album, you should.

Top 3 songs:

-Never Tear Us Apart

-Kick

-Need You Tonight

2. The Weeknd: House of Balloons

Known to most of us by his stage name The Weeknd, Abel Tesfaye has become one of the biggest superstars in the world. From record breaking singles and albums to top collaborations with artists such as Daft Punk and Lana Del Ray, his discography has come a very long way since his first proper release- House of Balloons. Everyone seems to say that the first release is always the best and I will dispute that, but not in this case. Every album Abel has done has been so different and incredible, but something about House of Balloons stands out. The raw stumbling’s of drug abuse and sexual desires that he was singing about was something next level. Others had done it before him, but the way he produced this album was next level. It was a considerably short LP for the XO, only 50 minutes long. But it is enough to transport you back to his harsh Canadian upbringing and why he is like he is.

Top 3 songs:

-Wicked Games

-Coming Down

-High For This

3. Kendrick Lamar: To Pimp a Butterfly

First thing I want to say about Kendrick and this masterpiece of an album was that HE WAS ROBBED ALBUM OF THE YEAR AT THE GRAMMYS!! Kendrick has always been very popular online- much like counterpart Chance The Rapper, and made his mainstream debut when this album- To Pimp A Butterfly, flew up the charts around the world. Along with doing the infamous festival circuit which include headlining iconic festivals such as Glastonbury, Coachella and Australia’s very own Splendour in the Grass, To Pimp A Butterfly gained more traction. It brings to the surface all the issues that we as a society are too reluctant to talk about or see the truth about- racial tensions, the police brutality, the treatment of people of colour in general- especially women of colour and so much more. What elevated this album though for me was when Kendrick did a mash up of ‘The Blacker the Berry’ and ‘Alright’ with him being tied up in shackles singing behind a jail cell door. America at that time was in the grunt of the presidential campaign, making it even more dramatic and brought the album to a new audience.

Top 3 songs:

-The Blacker The Berry

-King Kunta

-These Walls

4. The Killers: Hot Fuss

The Killers are one of those bands who continually fly under the radar but remain so popular. Having two older sisters with quite a big age gap between us, my introduction to The Killers was through them blasting this album in the car non-stop; but I didn’t mind that. Hot Fuss is the best debut album of any artist I have listened to. The Killers weren’t punk rock or rock and roll- they were alternate rock. It was good enough for the music geeks and to be played on top 40 radio. This album holds two of the catchiest choruses ever with the songs ‘Mr Brightside’ and ‘Somebody Told Me’. Every time I listen to Hot Fuss, it sparks a little flame inside me and I sing at the top of my lungs. Along with this, the lyrics to the songs on the album are absolutely phenomenal and from start to finish take you on a journey. There are tales of heartbreak and regret with ‘All These Things That I Have Done’ and ‘Jenny Was a Friend of Mine’, love and adulation with ‘Midnight Show’ and ‘Everything Will Be Alright’. This album is honestly timeless and no matter how old you are, is pure enjoyment.

Top 3 Songs:

-Smile Like You Mean It

-Midnight Show

-On Top

5. Coldplay: Viva la Vida

I have been to a lot of concert, shows, gigs and festivals in my almost 23 years of life, and Coldplay has come out on top every time. Much like others on the list, their entire discography is something that I will listen to over and over and not get bored of it. Despite my favourite song of all time coming from their album X&Y (Fix You), Viva la Vida or Death and All His Friends, or the stadium stomper as it is known as by music geeks, is an album that cemented Coldplay a stadium tour status. The massive drum and guitar, as well as incorporating orchestra was the first of its kind that I had heard, and I fell in love with the album immediately. Chris Martin is one of my favourite singer/songwriters of all time, and his ability to take something usually so hectic and not usually incorporated into mainstream music and make it his own is something that I admire him for. What really made this album pop of course was the stadium vibe and the enormity of the sound.

Top 3 songs:

-Viva la Vida

-Cemeteries of London

-Lovers in Japan/Reign of Love

6. Rihanna: ANTI

Robyn Rihanna Fenty is and always will be my woman crush. After doing 7 albums in 7 years, my babe Rihanna took about 3 years out of the spotlight to create her latest and most bold album to date- ANTI. There is something about the authentic of this album that puts this above the rest. Having that time off and going back to her Caribbean roots brought this album to the next level. The mix of her old-school reggae and more modern r’n’b, along with the improvement of her vocals along the way helped elevate it, but her bad girl persona did remain- especially with the inaugural song from the album ‘Bitch Better Have My Money’. The song ‘Work’, with rapper Drake, sent this album to elite status. It is fun and makes you feel like you can take on anyone and anything, and in contrast, will pull at your heart strings with songs such as Love on The Brain’. I am still upset that she did not tour Australia with the album, so thanks RiRi!

Top 3 songs:

-Love On The Brain

-Kiss It Better

-Woo

7. Fleetwood Mac: Rumours

I have always known who Fleetwood Mac were, but I was introduced to this album only a short while ago. Stevie Nicks is an absolute boss. Fleetwood Mac became dominant at the time where social constructs were a lot different to how they are now. The fact that this album not only challenged music minds and records, but created the shift for social change as well. Artists like Madonna and Cindy Lauper were aided by the success of Stevie Nicks and the fact she was a main vocal in a genre dominated by white males. One of the reasons I love Rumours so much is because of the massive influence it had on the music industry. It also included the catchy songs like ‘Dreams’ and ‘Go Your Own Way’. Fleetwood Mac and especially Stevie Nicks are timeless and a once-in-a-generation artist who has as much influence as they did.

Top 3 Songs:

-Go Your Own Way

-You Make Loving Fun

-Oh Daddy

8. Michael Jackson: Thriller

Carrying on from the influence of Stevie Nicks, there is no one better who broke down barriers in terms of race, gender and sexuality like Michael Jackson. There are so many of his albums to choose from, but Thriller is the one that I enjoy the most in terms of music. The title song caused so much controversy, and everyone thought with this controversy that Michael or the album wouldn’t be successful. Boy, people were wrong. After having filmed the first feature-length music video and being an African-American, there were bans put in place. Michael defied the odds and became and even bigger star. Some personal favourites, which I enjoy belting out during a boozy night out like ‘Wanna be Startin’ Something’, ‘Billie Jean’ and ‘Beat It’. Another reason why I love this album so much is that it produced one of the most iconic moments in pop culture- the introduction of the moonwalk at the Motown 25 special on May 16, 1983. And yes, I am still trying to perfect the move.

Top 3 Songs:

-Beat It

-Billie Jean

-Human Nature

9. Ed Sheeran: +

Ed Sheeran is possibly the best singer/songwriter of the past 5 years. With his most recent album ‘Divide’ and the inaugural single ‘Shape of You’ breaking all kinds of streaming and charting records, it is no surprise that his music beforehand would be top-notch as well. Enter Ed’s first proper LP- Plus. This was such a raw album that spoke about Ed and the difficulties that surrounded him and other people, much like The Weeknd with House of Balloons. This album came into my life at a time where I was struggling, with songs like ‘The A Team’ and ‘Lego House’ indirectly playing with my emotions and opening a light to a lot of the problems that I was having. Ed toured this album twice, and his presence on stage reflects how people such as myself interpret the album as well. Oh, and I’ve also had the pleasure in meeting Ed and telling him how thankful I am for him!

Top 3 Songs:

-Small Bump

-Kiss Me

-Drunk

10. Beyoncé: Lemonade

This would not be a top album countdown without the mention of the most famous women of the modern era. Beyoncé has delivered hit after hit. When her latest album Lemonade dropped, it caused hysteria of all sorts. She has been the campaigner of the visual album as well after her Beyoncé release, and Lemonade was no different. Much like Kendrick Lamar, who features on one of the standouts of the album ‘Freedom’, Beyoncé used her audio and visual platforms to seek out the injustice that is happening. She also includes her daughter, Blue, in a lot of them and it makes it that much more personalised. Her vocals are still red hot, as proven by hits ‘Formation’ and ‘Hold Up’, which now boasts the infamous bat and car scene. This album is honestly one in a million and I can never get bored of it!

Top 3 Songs:

-Freedom (feat Kendrick Lamar)

-All Night

-Hold Up

11. Maroon 5: Songs About Jane

The first concert I ever went to centered around this album. Maroon 5 have been around for as long as I’ve been alive, and their music continues to adapt with pop culture. Adam Levine, the front man, was my first real celebrity crush, and this album did solidify that. Songs About Jane was a forefront in indie music at the time of its release, headed by She Will Be Loved and Sunday Morning. Their cover of Harder to Breathe and the inclusion This Love gives you Adam’s sensual voice right to your very core. the use of the guitar in this album is impeccable- in one song it will make you get up and dance when in the next it makes you feel like you could cry for days about your ex-lover. The lyrics and the execution of this album are timeless, and no matter what decade or era it is brought into, would be successful.

Top 3 Songs:

-She Will Be Loved

-Harder to Breathe

-Tangled

12. Taylor Swift: Red

I feel like Taylor Swift has been around for every turning point in my life. 13-year-old me found out who she was through my love of the Jonas Brothers and her guitar-twanging smash Our Song. Through the country phase to what is her best album to date- pop alumni Red. This album, like many of her others, tells a story of love and heartbreak, but also celebrates having the right people in your life. ‘22’, one of the biggest selling singles by Taylor, is one of my favourite songs of all time. Despite being noted by a lot of people as ‘pop trash’, the significance of this song resonates with a lot of people. It is about being care-free and living your life to the fullest no matter what. ‘All Too Well’ and ‘Red’ talk about heartache and how love in all forms can manipulate you in so many ways. This album is raw and full of emotion, no matter the genre it is placed under. The Red Tour was also my favourite Taylor concert as well.

Top 3 Songs:

-State of Grace

-All Too Well

-22

13. Kanye West: 808’s and Heartbreak

Say what you want about Yeezy, but he definitely knows his sound and his music. 808’s and Heartbreaks is an album that took Kanye out of the hip-hop world to the more mainstream. The mellowed down sound with the use of the heavy drop verberating in the chorus’ of most of these songs brought the genre and the album to another dimension. ‘Heartless’ and ‘Love Lockdown’, the two main singles from this work, are so well put together though the emotion elicited in Kanye while he is singing and rapping, as well as the tremendous loops in the beat. I have never witnessed music before or after this album that makes you want to get up and dance but cry your god damn eyes out at the same time. If you are one of those people who loves a continuous bop, this album is right up your alley.

Top 3 Songs:

-Love Lockdown

-Paranoid

-Say You Will

14.  Adele: 25

What a woman. I don’t have enough words to describe the feel, emotion and powerhouse vocal that is Adele. Unless you were living under a rock over the past 18 months, her song ‘Hello’ was everywhere and definitely set the scene for the whole album. Adele is one of very few people who can stand on a stage with little to no movement around her and manage to captivate millions. Her amazing voice capitulates almost every other artist in the industry right now. Listening to ‘25’ is honestly an out of body experience every time you listen to a song.

Top 3 Songs:

-Send My Love (To Your New Lover)

-I Miss You

-Water Under the Bridge

15. One Direction: Midnight Memories

This wouldn’t be a countdown without my absolute favourites of all time, right?! Midnight Memories by far is my favourite album from One Direction. They had a lot of song writing and production influence on this album, and it is very noticeable compared to their first two albums. The boys having that much influence on this album shone through, especially with the rock undertones and the sophisticated lyrics laced through all the songs. Alas, they did make this album with the fact that they were about to embark on a stadium tour, and this album is a massive stadium stomper. Harry, Liam and Zayn all shine vocally, whilst Niall and Louis’ songwriter impressed throughout the whole album. I honestly love this album with all my heart, and my eyes still water every time a song comes on because I miss One Direction so much. I am still bitter that I missed out on seeing this tour.

Top 3 Songs:

-Strong

-Happily

-Through the Dark

SPECIAL MENTION to Harry Styles and his new solo album, which would have been on the list if it was out already :P

[hooliganrehab]

Bruno Mars Doesn’t Walk....he glides

It’s as if he’s perpetually ready to perform a Motown-style choreography set in front of tens of millions watching the Super Bowl (which he has done twice in the past four years)—even easing his way into a suburban L.A. pizza parlor, where moments earlier, his sexy, chart-topping 2012 hit, “Locked Out of Heaven,” was on blast, as if anticipating his appearance. Mars just has that aura. His outfit is straight Fania-era salsa/blaxploitation swag—Gucci cap over his curls; sunglasses; an open shirt, floral and teal; tan shorts; dress shoes (no socks, to accentuate those smooth legs); and minimal gold jewelry. He orders a plain slice, which he sprinkles with garlic powder, and a root beer. It’s obviously a joint he frequents, since he knows all the fellas by name, and the workers aren’t taken aback by the superstar in their midst. He walks to an open booth, wolfs down his food, controlling his urge to eat six more slices, he jokes, and proceeds to be the smoothest cat to ever have lunch at an old-school checkered-tablecloth pizzeria.

Mars learned about charm, confidence, and estilo early in life. “My whole sense of rhythm is because my dad was teaching me bongos as a kid,” he says of his father, Pedro Hernandez. “He’s an old-school working musician, so that’s where the pinky rings come from, the patent-leather shoes, the suits, and the pompadour. It all stems from watching my father. I remember at the time, me and my sisters would be a little embarrassed when he would take us to school in his big-ass Cadillac. No one had Cadillacs in Hawaii. But my dad would show up in some boat-looking Caddy wearing some silky shit, and we’d run out into the car as soon as possible. And here I am wearing the swap-meet gold, driving Cadillacs,” he says with a laugh.

Take one quick look at Mars’ recent music (the omnipresent Mark Ronson collaboration “Uptown Funk,” which amassed more than 2 billion YouTube views, the fourth-most ever, or his critically acclaimed 24K Magic) and his style (“pinky rings to the moon”), and it’s easy to see that his persona is not only inspired by his father but delivered as a conscious ode to Latino and African American masculinity. Brown and black men have long dealt with the stereotype of being hot-blooded, suave, savage animals lusting after anything with a pulse. Now Mars, 31, is embracing the Latin Lover archetype (if you’re not treating your girl right, we’re Mr. Steal Ya Girl) and giving anyone who’s offended a big middle finger. Mars’ dominance in pop culture takes on even greater resonance now, when the leader of the free world has called Latino men “rapists,” “drug dealers,” and “bad hombres.”“I hate that we’re even having a conversation about injustice in America,” he says of the current climate of social unrest. “That we are having a conversation about this in 2017; the same conversation that’s been had decades and decades ago.”Yet Bruno Mars doesn’t want to drown you with his wokeness; he just wants to make you shake what your mami gave you. The man is a musical genius—he writes, produces, sings, dances, plays instruments, and puts on arguably the best performances in the universe.

“Remembering when he was just my little brother looking up to me, staying by my side, playing music together, throwing around a football, just doing everything together—those were great times,” says Eric “E-Panda”Hernandez of his hermano and band leader. “Now he signs my paychecks, and he is my boss. I’m beyond proud of the man he has become.”But before he was Bruno Muhfuckin’ Mars, he was E-Panda’s lil’ bro, Peter Hernandez, born and bred in Hawaii to a beautiful Filipina and Spanish mom and Puerto Rock and Jewish papi from Brooklyn. His childhood musical career is well-documented on YouTube— at 4, he was the cutest Elvis Presley impersonator ever, performing with his family for oohing-and-ahhing tourists in Waikiki. As the years passed and his skills developed, Mars found himself dealing with racial-identity issues in the multicultural 50th state. “Growing up in Hawaii, there are not too many Puerto Ricans there,” says Mars, “so because of my hair, they thought I was black and white.”

The idea of not being easily categorized is something Mars has dealt with his entire life. When he moved to Los Angeles at 18 to make a serious go in the music industry, record label executives asked, “What are you? Are you urban? Are you Latin?”“There are a lot of people who have this mixed background that are in this gray zone,” he says, leaning forward to make his point. “A lot of people think, ‘This is awesome. You’re in this gray zone, so you can pass for whatever the hell you want.’ But it’s not like that at all. It’s actually the exact opposite. What we’re trying to do is educate people to know what that feels like so they ’ll never make someone feel like that ever again. Which is a hard thing to do. Because no one can see what we see and no one can grow up with what we grew up with. I hope people of color can look at me, and they know that everything they’re going through, I went through. I promise you.”All that to say that Mars is prouder than Manny Pacquiao to be Filipino, loves Hawaii more than Don Ho’s children, and, well, is as boricua as Marc Anthony eating a plate of arroz con gandules during his Todo a Su Tiempo era. Critics and those confused by his multiracial roots have insinuated that he’s ashamed of his Taino roots, truly a load of chupacabra crap, says Mars.“My last name is Hernandez. My father’s name is Pedrito hernandez, and he’s a Puerto Rican pimp. There’s no denying that.”“I’d love to clear that up in Latina magazine,” he says, raising his voice. “I never once said I changed my last name to hide the fact that I’m Puerto Rican. Why would I fucking say that? Who are you fooling? And why would anyone say that? That’s so insulting to me, to my family. That’s ridiculous. My last name is Hernandez. My father’s name is Pedrito Hernandez, and he’s a Puerto Rican pimp. There’s no denying that. My dad nicknamed me Bruno since I was 2 years old. The real story is: I was going to go by ‘Bruno,’ one name. Mars just kind of came joking around because that sounds bigger than life. That was it, simple as that. I see people that don’t know what I am, and it’s so weird that it gets them upset. It’s an oxymoron—the music business; like the art business. You’re making a business out of these songs that I’m writing. And how are you going to tell me that this song that I’m writing is only going to be catered to Puerto Ricans or to white people or only Asian people. How are you going to tell me that? My music is for anybody who wants to listen to it.”

An incredible number of people want to do just that. Mars’ combined sales for his first three albums are more than 100 million, along with his 2013 Moonshine Jungle Tour and his upcoming 100-date 24K Magic World Tour, which begins in late March and sold more than a million tickets in one day. Concertgoers will be treated to the Mars stage presence—an aura influenced by his family and the greats: Michael Jackson, James Brown, and Prince. Needless to say, Mars’ music is undoubtedly black.  

“When you say ‘black music,’ understand that you are talking about rock, jazz, R&B, reggae, funk, doo-wop, hip-hop, and Motown. Black people created it all. Being Puerto Rican, even salsa music stems back to the Motherland [Africa]. So, in my world, black music means everything. It’s what gives America its swag. I’m a child raised in the ‘90s. Pop music was heavily rooted in R&B from Whitney, Diddy, Dr. Dre, Boyz II Men, Aaliyah, TLC, Babyface, New Edition, Michael, and so much more. As kids this is what was playing on MTV and the radio. This is what we were dancing to at school functions and BBQs. I wouldn't be here if it wasn't for these artists who inspired me. They have brought me so much joy and created the soundtrack to my life filled with memories that I'll never forget. Most importantly, they were the superstars that set the bar for me and showed me what it takes to sing a song that can get the whole world dancing, or give a performance that people will talk about forever. Watching them made me feel like I had to be as great as they were in order to even stand a chance in this music business. You gotta sing as if Jodeci is performing after you and dance as if Bobby Brown is coming up next.”It’s refreshing to hear a pop star say it loud and proud: black music is American pop culture. Latinos and African Americans aren’t just connected by the racism and dis- enfranchisement we’ve dealt with historically; we’re also connected by our music and traditions. We hear it in J Balvin’s reggaeton heaters and in Rihanna’s Caribbean patois, as well as in the eloquent, piercing words written by Ta-Nehisi Coates and Junot Díaz. We’re one. And Bruno Mars combines the best of all of our aspirations and goals into one super artist.Above all, the world has to thank his parents for nurturing his talent at an age when most kids were still using pull-up diapers. While his pops gave him his style, his mom, Bernadette San Pedro Bayot, gave him his heart. After each performance, Mama Mars would call or text to congratulate him on another gem or to say to get some rest. The memory of her sudden death in 2013 from a brain aneurysm still shakes him.“The woman who taught you to love, showed you what a woman is supposed to be,”

says Mars, his voice trembling slightly for the first time during an interview where he’s been all smiles and laughs. “When that goes away, a little more than half your heart goes away with it.”

THEY SAY IT’S HARDER TO LOSE A PARENT AS AN ADULT BECAUSE AT THAT POINT YOU’RE PEERS, YOU’RE FRIENDS. EVERYTHING CHANGES, NOTHING WILL EVER BE THE SAME.“You just gotta know that she’s with me everywhere I go,” he says. “It’s some- thing that you can’t imagine—the pain and the things that you keep going back to: ‘I wish I would’ve done this or said this.’ You just have to see life differently. It shows you the real importance of life. Nothing else matters in this world but family and your loved ones.”When asked if his music has changed à la Kanye West when he lost his mother, Donda, Mars pauses. “I don’t know how to answer that question,” he says. “My life has changed. She’s more than my music. If I could trade music to have her back, I would. I always hear her say, ‘Keep going and keep doing it.’”  

Mama Mars certainly did an amazing job. Mars’ longtime girlfriend, model Jessica Caban, definitely reaps the rewards of his having such a great mother. Mars isn’t big on sharing about his life with Caban, but social media paints an adorable #relationshipgoals idea of their courtship.I got this fire in my blood. For me, you gotta keep up

It’s all in. It’s ‘I’m going to love the shit out of you, and I’m going to fuck you up later,’” says Mars jokingly, laughing about his attraction to Latinas, obviously with Caban in mind. “It’s all in. And that’s what keeps that fire going.”

As he wraps the interview, which felt more like two bros shooting the ish, Mars dips through the back of the pizzeria, jumps in his black Cadillac and pulls to the front. He asks this reporter, “Where you going? Maybe I can give you a lift.” “Downtown L.A.,” the reporter says. “Oh! You better Uber that shit!” Mars says with a smile. It was expected. Not because Mars is too Hollywood, but because where he’s going, not many have gone.

[splitshortsyeah]

Mac Miller 'K.I.D.S.'

-Matt Duelka

Progression. That’s a good place to start in 2010. I did a lot of ‘progressing’ leading into ’10. I’ll give a lot of credit to the college experience (not so much the college itself) for the shape and calcification of my being. Since ’10 – minor progressions, but the details have been important. More fine tuning of who I should be. But before we get too into 2010, I need to talk about 2008 (a MAJOR progression the likes of a King Crimson album) because without 2008, there is no 2010, and certainly no 2020.

[So, briefly, here it goes.]

As a current 33 year old in 2020, rap music takes up a pretty calculated 93% of my musical intake. In 2008, not so much. More like weird metal, emo pop-punk – regular 20-year old white boy stuff. But I WAS 1 year into being a ‘urban music’ radio DJ (What? Why? How?)  and my crash course had been hitting quite the peak. Classics and hot-off-the-stove EmCees were covered but anything in between – was very much all or nothing.

“Yo, you see the new Gucci tape dropped?”

“Wait, who? Gucci? Is there a new album out? I didn’t know it was getting released?”

“C’mon. You didn’t see the new mixtape drop on Nahright?”

“Nah what?”

“Man, catch up.”

And I did. The internet is a deep ocean of untapped resources, until you start “tap, tap, tapping it in”. Gucci’s 36 mixtapes in 6 months were something to behold, but to me was pretty flat – all temporary ear candy but nothing that held water. I was 14 pages in – searching Nahright.com, 2DopeBoyz – and felt I was now in a 400 level classroom. And then came a banger – Wale ‘A Mixtape About Nothing’.

I was smitten. The tape basically Batman punched the life back into me and I considered uncovering this gem, a passing grade into rap graduation. Hours were now spent uncovering quality tapes and collabs that I could talk about to whomever who keep listening to me. In ’09 I took over the reins on the Rap Radio airwaves. My musical trajectory was skyrocketing. Rap music should have been my major.

[Ok. Now 2010]

Internet. Internet. Blog Site. Search. Blog Site. Search. Download. Listen. Share. Refresh. Internet. College is in the rear view. Career is in a holding pattern. Retail for the time being. New music is what’s up.

“When you’re young, not much matters.”

Oh what’s this?

“When you find something that you care about, then that’s all you got.”

Is this from that movie…?

“When you go to sleep at night, you dream of *music* “

You have my attention.

KICKIN’ INCREDIBLY DOPE SHIT (K.I.D.S.)

A white 18-year old kid from Pittsburgh comes out with a ‘KIDS’ movie sample and then just. Goes. In. Like, bangers from the gun. Heavily KIDS influenced, heavily sampling dope beats (Lord Finesse took a little offense to that, but we’re past it), but that’s what a mixtape is about! Get your ears and eyes focused. Someone is looking to get on the map.

Progression. It’s what got me here so far, but it’s also what this kid, Mac Miller, was after. Mac put out this album specifically to show people what he could do with his words. Not to say that he had A LOT to say, but he wanted to talk, and tell people about what he knew (not making up a persona just to sell a rap to the streets). Drugs, drinking, ladies, and having fun. “Kool-aid and Frozen Pizza” ain’t trynna be anything that it’s not.

Mac Miller was a fun ass High School graduate putting out fun-ass rap tunes for people to smile to. Whether a banger or a smooth ride, I found a good time in this tape from beginning to end. It was different, definitely. Not to say ground-breaking, but it’s hard for me to put a doppelganger to his flow. I remember someone trying to tell me it seemed like he emulated Drake’s delivery – slow yet catchy. But something about Drake always has me thinking he didn’t really ‘flow’ in any way, and just spoke to you ‘in a rhythm (a rhythm I cannot actually describe)’. Mac had a delivery, a great one. And it was simple, yet smart. He just really understood who was listening, and who he wanted to get across to. I assumed as a 23 year old retails associate, I was smack in the middle of that venn diagram.

I’m a sucker for a ‘Boom Bap’ sound (just say it enough and you’ll get it) and even though Mac isn’t a definition of the style, there’s a lot of that east coast flare in there (especially with the samples he chose – definite *eye emoji*). I also had a pretty intimate experience with the movie laced into this mixtape. I wrote an 8 page final paper on the movie (more specifically, the last line of the movie, which he so happens to use on the last track, with tunes of Elliot Smith slowly fading out to close up shop on the tape). So you have to believe that my intrigue and HOPE for this tape from the get go was at a 17 out of 10.

“Get ‘Em Up” had me nodding straight out the gate. Mac, if he was trying to showcase some wordflow talent, had me at least glued to see if this would get better with this track. By now I’m cranking the volume up a few notches and thinking I might have found something. Again, this isn’t groundbreaking, but no 18-year old should be (SHOULD BE). But Mac didn’t need to deliver complex lyrical stanzas in and out of classic Pete Rock beats to make an impact. I’m on my feet. I want to hear more.

And then we transition to “Nikes on My Feet” and, you see what I did there? This was as tasty of a track as you could have hoped for. Not knowing anything was a good way to go into this, because the unexpectedness of a Nas sample on this Pittsburgh kid’s mixtape was a treat. And it could have been a more ‘World Renown’ tune – including the all-familiar bass line and chorus -- but he chose a piece within “The World is Yours” and went in, to further push the “this is what I know, and this is what I’m gonna rap about” bit. “I don’t know about Nas’ life in Queensbridge, but I know about these Nikes on my feet” is what I imagine he said while thinking up this song. And if you can’t tell I was sold by now, well then, I’ve wasted a thousand words on you.

“Cream cheese and a bagel. Have a glass of milk and an Eggo. Rocking PJs and no shirt. I smoke weed, eat yogurt.”

Progression, right? There was a time where “The Spins” would have intrigued me because of the Empire of the Sun portion – ala Gorillaz with Del tha Funky Homosapien. But now I’m sitting thinking, man what a compliment they are to Mac Miller. He’s still the star of the track and in 2010, on the festival circuit, this made the KIDS bump, bump, bump. Even walking down the street 3 weeks ago, I was re-listening to the tape and couldn’t keep from trotting, singing, and just enjoying myself. Banger. In 2010, this is what I NEEDED. I wanted a song that just got my blood racing and FUCK did this song do it. Being that Mac might not have been heralded by the rap world right away, a track like this made sure he at least meshed between a few crowds, and I’d say the music festival demographic was probably an ideal spot for him. That’s where I found myself as well. At least, as a 23 year old. Because, again, we are still progressing.

We move into “Paper Route” and “Good Evening” and we’ve moved away from booming and banging, and now we are cruising. We got the radio on, or we got the headphones in, and you got your head nodding along. BOP BOP BOP. Going back to Mac’s intention for this tape, I feel like these tracks are in the realm of Mac puppeteering his way along, showing the world how he could move swiftly and intelligently – yet simply and endearingly – through a track.

For anyone who ever blog, probably heard my name Hip-Hop's underdog, you wanna win the game I'm sick of hearin' how music change never be the same And these dudes who think they everything and never pick a lane Call yourself a vet, but haven't won a single game Mad, every girl got my name imprinted in her brain Boy, I'm a beast, match the style in bars Find me smokin' weed where the wild things are

For anyone who doubted he’d be able to cut it on the rap scene, I’d say that verse was a slight flex, in retrospect.

As much as “The Spins” was able to bring thousands of folks off their grass stained tight jeans and onto their feet during a July summer on Governor’s island (I saw it happen in person) – “Knock, Knock” was the jam of the album. This was the tune that made Mac be able to stand tall and say “This tape was worth it.” This followed me through many-a-car ride, too many drunken after parties (not at hotel lobbies – but more so at post-collegiate apartments with unfortunate furniture choices), and just being the soundtrack to my walks through the Manhattan summer. I have a soft spot for over the top “epic” sounding choruses that you can blast on better than average speakers, and this fit the bill. It’s hard for me to find a song that defined “Fun” for me more, in 2010, than this song did.

It’s hard to imagine 2010 without this entering my life. Because it was fun. So very fun. And it brings great thoughts just writing about listening to this album back then. Great weekends, and epic tabletops, and the content we were able to create! Even if most of it only lives in our heads, it was worth it].

And then it ends, like it began. “Jesus Christ, What happened?”. The movie ‘Kids’ brings us back and we fade out. Of course, I would “bring it back” many a time in that day. It became a fixture on the playlists, a constant on the headphones. I even slipped a few songs on the retail store speakers.

But we all PROGRESS. We all want more eventually. And do I mean more, like “that wasn’t good enough – give me more!”? No. I mean. We want more, like, I’m changing, and so is everything around me, what do you offer me now? A better job? More money? More substance from the ones you spend your time with? And with that, you also tend to want more from your music.

So ‘K.I.D.S.’, even though I have thrown it on the que recently and been able to jam along, I can’t keep it on the podium that it was prominently placed on in 2010. For what it represents, it will forever be held high, but it won’t be the same as the first experience and I don’t think that was ever the plan. Do tracks still SLAP, sure, but they weren’t meant to be ‘timeless’. It was meant to live in the moment and do what it needed to do. Mac made it known this was a proving point for him. This tape was meant to show he belonged.

And so as we all need to do, we PROGRESSED –

               Blue Slide Park

               Watching movies with the Sound Off

               GO:OD AM

               The Divine Feminine.

You can say what you want about those albums that proceeded, but you can’t say Mac Miller was stagnant.

“Yo, I listened to them and they just weren’t what I expected.”

“Well what did you expect”

“I wanted K.I.D.S.”

“But you got K.I.D.S”

“Yeah, but I wanted it – well – again.”

“I don’t think he did.”

‘K.I.D.S.’ was never meant to sustain, and Mac moved on from it like he should have. He had more to prove. Could he have continued to make music for the festival crowd? Sure? Would he have been successful? Probably. But even though I don’t even pretend to know him as a person – it’s obviously not what he intended to do. Because even though the albums I mentioned above may not have caught the listeners’ attention like ‘K.I.D.S.’ did, you could see the progression that Mac was going through.

[Can we jump to 2018? Good.]

Even though you may have found your footing, there are always ways to improve your steps. At this point it isn’t major adjustment after major adjustment, but more like “Hey, those shoes didn’t work because of the minor shape difference in the heel to toe ratio, maybe these slightly less aggressive ones will be better” (IYKYK). Mac Miller put out ‘Swimming’ in ’18 and to say it’s his best work is an understatement, but to also say that “This is a throwback to his most comparable work to date, ‘K.I.D.S.’“ would be a catastrophic failure in comparison. Through the steps he took in with minor adjustments on his other studio albums, Mac developed a sound that was unlike anything that was produced on ‘K.I.D.S.’, BUT, without ‘K.I.D.S.’, ‘Swimming’ never exists. Weird how that works.

I used to rock epic rap anthems like it was them or nothing. I needed to hit be hit hard or it wasn’t hitting enough. But I learned that there was a different way to be ‘touched’ by hip hop. I learned, what I define as ‘asymmetric’ beats – where a song may not have a chorus, or a looped sample, or anything typical of a conventional or traditional track. My ears were genuinely intrigued by the angles that existed within the songs, and I started to see the beauty of them. I wanted rappers who could also take a rap track, and put a live band to it – Let’s hear some live ivory tickling under them verses, huh!? – OR maybe have a rapper croon a little bit? Why not. Why they always gotta be so hard? Lets get sensitive (but please – no Drake).

So ‘Swimming’ did that – all of it. We got Mac pouring his heart out. Where ‘K.I.D.S.’ had bangers and catchy choruses and classic samples – ‘Swimming’ had live bass (Thundercat! Woot!), off-kiltered bars, singing and swaying, and stuff I didn’t imagine Mac had in him. But they were as visible on this album as the tattoos on his sleeve. I mean, I’m FULL SEND on The Foreign Exchange, Tyler The Creator, Black Milk, yadda yadda yadda, and Mac is now RIGHT THERE in the conversation.

SIRS AND MADAMES WE HAVE PROGRESSED!

Mac and I didn’t have tickets on the same trolly train of progression, but we both got here. Maybe he saw it coming -- I definitely didn’t plan this Musical fandom path for myself. Maybe Flying Lotus had something to do with it?

I think it has a lot to do with getting from the prove yourself phase to the phase you actually want to be in. We all have to do it at some point. We all have to be in a spot that isn’t exactly where we’d like to be – but without it we can’t get to where we WANT to be. The problem is, how to convince others that this is the right way to go. Not to say “Everyone, please follow me – this is the right AND ONLY way this will work”, but more like “Hi everyone, this is the right way for me, can you please join in helping me proceed and giving me the confidence to move onto the next chapter of this progression.” To be honest I wasn’t following along with him fully – a mix of not understanding and not believing he would get there. I feel like I made it through to where I wanted to be a little sooner than Mac did – but when “Swimming’ came out – I knew we both made it. Or you could assume we both made it. I assumed we both made it.

But then it was over. In September of 2018, Mac passed away. And it fucking sucked. As happy and fulfilling as his music made us – made ME – feel, it’s hard to believe he wasn’t anywhere close to feeling the same. Malcolm McCormick should have been with us for a long time, and because things just don’t work that way, he won’t. ‘Circles’ eventually came to us in 2020 – and recorded entirely while ‘Swimming’ was, so everyone got to witness the feelings again that they did with ‘Swimming’ and remember, unfortunately, how we won’t be able to continue to feel like this again.

Some music makes a dent in your life, and it takes a while for you to understand why. ‘K.I.D.S.’ did that for me in 2010. I was too busy to really try and figure out why my bumper got scuffed, or how to fix it. But in 2020, I know it was never meant to be fixed. My 33 year old ‘Toyota Corolla’ of a self thinks the dent looks good these days. Why try and progress through that.

[theworstbob]

yellin’ at songs: week 32

brief reviews of the songs which debuted on the billboard hot 100 the weeks of 16 august 1997, 18 august 2007, and 19 august 2017

8.16.1997

6) "2 Become 1," by Spice Girls

This is just a '90s R&B song! This song doesn't even have the courtesy to be kitschy! This is completely indistinguishable from the rest of the '90s R&B, breathy whispered vocals about sex. There's no -- "Be a little bit wiser, baby/Put it on/Put it on" -- okay. OKAY. Sure. I guess that's something. If your song has no other value, might as well throw quality actionable advice in there. I hope the next song is some milquetoast R&B beat while people sing lines like "Your stomach takes a while to tell your brain it's full/Don't have that third slice of the ‘za, baby."

51) "All I Want," by 702

Oh hell yeah, I love this. I love that this is a Missy Elliott track, and I also love that this group did the titular song for Pootie Tang. I am way into this. This is a breezy summer jam that hits all the Good '90s R&B buttons.

54) "To Make You Feel My Love," by Billy Joel

this sounds exactly like you think it would sound and is as pleasant to listen to as you think it would be and i'm just gonna bounce after 30 seconds because i get it, i see what he's trying to do here and don't want to stick around to see if he pulls it off

55) "Big Bad Mama," by Foxy Brown ft./Dru Hill

I don't disagree with this! I can't find any way to hook onto this, but I already called one thing a breezy summer jam because I didn't feel like thinking too hard about it, so I'm in a bit of a predicament here. Like, this song is OK. It has a memorable bass line, Foxy Brown's pretty great at her thing, and whichever member of Dru Hill showed up sure did the most singing of anyone in 1997!, but like I can see why we've left this behind. It's fine. No one needed this one unearthed, though. We've found some buried treasures, y'know? This is like finding a buried booklet of commemorative state quarters. Like, neat! But also, not even $15.

83) "Far from Yours," by O.C. ft./Yvette Michele

"I be the Chosen One/Beyond the Moet and Cristal/A son of King and a Queen/Therefore ability/For song run in my genetics/I gave ideas to L. Ron Hubbard to write books on Dianetics" ...Setting aside the major issues I have with this man's rhyme schemes, IS HE TAKING CREDIT FOR SCIENTOLOGY. IS THI -- IS HE SAYING THAT HE IS THE INSPIRATION FOR SCIENTOLOGY. What the fuck kind of boast. He's saying his raps are so powerful they inspired a crazy man to write books about bad science. I am flummoxed by this song. This would have been just another okay song by a rapper who honestly just seems like a normal-ass dude who somehow wandered into a recoriding studio, but HE'S TAKING CREDIT FOR L. RON HUBBARD'S IDEAS. WHAT THE FUCK KIND OF LUNATIC IS THIS MAN.

89) "Tide Is High," by Angelina

Someone went to the store and said, "OH BOY! Another new verson of 'Tide Is High!' I gotta pick up this new interpretation of this song, which is of course someone's favorite song ever because it's MY favorite song ever!" Also none of the back-up dancers in the video looked like they were trying their absolute best. They knew where they were. They knew it didn't matter. They took a few plays off and got that check. I have so much respect for those backup dancers. ROCK TO THE BEAT ROCK ROCK TO THE BEAT, ROCK TO THE BEAT ROCK ROCK TO THE BEAT and so forth

92) "Relax & Party," by Ivory

So I've been sick the past couple days, which is why this post is going up on Wednesday and why there's no Thing Journal for last week (SUNDAY DOUBLE) and real talk why this has been a weak edition of YAS so far, ‘cuz I'll be honest, I'm still in the doldrums. My back hurts, which is a fun side effect of getting sick in your late 20s, I've found. So I'm not. In a mood? Conducive to caring about this song. I'm sure this is OK, but honestly, right now, in this moment in which we find ourselves, me and this song, sharing the same space on this planet, I could not care less about the things it wants to bring to my life. It's a stupid song and doesn't do anything. It just goes on for four minutes. Great. Great! Hey, just release an album of that fucking bass line for fifty minutes, honestly, it's probably your best bet if you want me to at least respect you.

95) "Dancehall Queen," by Beenie Man ft./Chevelle Franklyn

So there are two different versions of the song "Dancehall Queen" that I could find. There is this one, but there is also one released more recently with Lady Sovereign as the featured artist. So I have a few questions about our beautiful ever-expanding dying universe: 1) What did Chevelle Franklyn do to get deposed? 2) Does Chevelle FRanklyn give input into the decisions Lady Sovreign makes? 3) Who gave Beenie Man the powers of coronation? As far as I can tell, he does not proclaim himself the Dancehall King. 4) How often does the Dancehall Queen title change hands? 5) Is there a library that has data on the Dancehall Queen history which I can look up? 6) What are some books on the Dancehall Queen succession which you would recommend? Let me know in the comments! Hit that follow button and LIKE THIS POST!

8.18.2007

28) "Me Love," Sean Kingston

This is like a song you enjoy if you've never enjoyed a song before. If you're someone who appreciates music and attends symphonies and has opinions on concertos, and you're approached with this song, you'll probably use snooty music language to say, "This is a delightful confection!" Or like, if your musical diet consists entirely of Gary Jules' cover of Mad World and songs of that ilk, if the only songs you've been allowed to enjoy in this life are Gary Jules' "Mad World" cover and other songs which could have been selected for the Donnie Darko soundtrack, and you hear this song for the first time, this is probably the most amazing thing you've ever heard. This would sound so revolutionary. But if you've even heard one other fun pop song, you know this is useless.

89) "Free and Easy (Down the Road I Go)," Dierks Bentley

it is good when things are nice! at last, a song that says what none of us are brave to say out loud

90) "All My Friends Say," Luke Bryan

I think a couple months ago I tabbed this as a semi-iconic Luke Bryan song, in the sense that it's a song I hear and immediately attribute to Luke Bryan, which is something I can't do for any Blake Shelton song. But like, this is the song that establishes Luke Bryan's persona -- he's a free-wheelin' sumbitch who's gonna drink too much and try not to drunk-dial any ex-girls. There's personality in this song, a hack and shitty personality, but hey at least he hacked up and/or shitted out an identifiable character. All Blake Shelton's songs are about a man who wishes things would either be better or remain the same, depending on how good they presently are. The song is garbage and Luke Bryan only ever got worse, sure, but it is undeniably a product of Luke Bryan’s particular brand of dunderheaded twanging.

100) "Can U Believe," Robin Thicke

There is a long list of things I need to do with my life. Near the top are items like "only wear a suit at your little sister's wedding," "learn the lttp any% nmg speedrun," and "write a whole good thing," you know, standard stuff, standard life goals, and then there's a million pages of things I will never accomplish. Nowhere on that list was "listen to Robin Thicke tell you that I don't know when someone's watching." I did not need to hear Robin Thicke tell me he was stalking me before I died. I could have learned the Blind script with this time. Maybe this is about God? But it's not even vaguley Christian, he just randomly starts saying you never know when someone's watching, which is only something anyone says WHEN THEY ARE PRESENTLY LOOKING AT YOU THROUGH A TWO-WAY MIRROR. Been a decade of garbage with this man, my gosh.

8.19.2017

(38) "You Da Baddest," by Future ft./Nicki Minaj

Beach Future is such a weird thing to consider. I'm on the record as being pro-Beach Future in general, it's not as random a pivot as the time Lil Wayne picked up the electric guitar and said "OH YEAH! THIS IS A THING!" but it's still hard to get the brain around the idea of Beach Future after, what, three years and roughly 20 albums of morose, despondent Future? All of the Future songs I know are about the nightmare of being Famous and codeine, and now he's dropped two songs that are just, "Yeah, man, chillax! Life's pretty breezy, friends, pull up a chair, let's just enjoy a sunset together!" I'm into it? But it feels like the world is imbalanced right now. Beach Future has completely thrown off my equilibrium and I am Scared.

(68) "Unforgettable," by Thomas Rhett

Ah. Balance! After making a surprisingly hot '80s jam earlier this year, Thomas Rhett just sort of bleats over an acoustic guitar for two and a half bland minutes. This song tries to turn the word "mangorita" into a stirring kick-off to its chorus, and while I recognize the enormity of the task it placed upon itself, that doesn't mean it didn't fail to accomplish its goals. "From your blue jeans to your shoes/Girl, the night was just like you/Unforgettable." I'D NEVER SEEN JEANS JUST THAT BLUE BEFORE. I NEVER EVEN KNEW THEY MADE BLUE JEANS IN THAT PARTICULAR SHADE OF BLUE. WHY, THEY WERE... DARE I SAY? TURQUOISE! ALL HISTORY'S SCULPTORS DEVOTED THEIR LIVES TRYING TO MOLD YOU

(85) "When it Rains it Pours," by Luke Combs

A lot of the reason I don’t mind Rascal Flatts and Keith Urban when we run through 2007 is because, when I was growing up, my mom would only listen to country music, and those artists are the ones I minded the least when we were on the half-hour rides to and from church. I forged deep and lasting connections with the dudes I minded the least of anyone else. This song is definitely "best song on the ride to church" quality. It has a Toby Keith-y sense of humor which is more or less agreeable -- I can't imagine any scenario that a waitress at Hooters is impressed enough by any customer at Hooters to leave their number, but here I am, complaining that my suspension of disbelief in a country song was interrupted -- and it's unique, I haven't heard a lot of "fuck her, she's outta my hair!" songs from dude country artists this year. It’s not “I’m Gonna Miss Her,” but what is? Once again, Luke Combs has made a song that's unique enough that I can appreciate its charm, but not so intriguing that I'm gonna seek him out on my own. I'll give his next album a spin, see if he takes the right lessons to heart, but the one he’s got out now, I think I’m good!

(87) "They Don't Know," by Jason Aldean

"Just another field/Just another farm/No, it's the place we grew up on." Jason Aldean is a multi-millionaire who owns several hundred acres of land in a major metropolitan area nad has the chutzpah to speak for the common man. Fuck this dude and fuck him for this Trump-vote of a song.

(88) "Honest," by The Chainsmokers

hey guys the chainsmokers made a song about how they're sensitive boys who're sad about breakup, wow what a fascinating new look for these cats, truly evolving as artists before our very eyes. see, this is the one where they go "whoa-oh." i don't think they've gone "woah-oh" in a song yet. this is a pony certainly capable of developing a second trick!

(89) "The Weekend," by SZA

"What kind of deal is two days?/I need me at least 'bout for of 'em" is one of the single-saddest lyrics 2017 has produced. This song is so good. SZA in general is so good, but I never had to deal with how good this song is, given how much there is to parse with Ctrl. When's the last time we heard from a side piece's perspective, y'know? When's the last time we heard how a booty call felt about being a booty call? We heard "Booty Call," which was about the act of engaging in a booty call, but we don't know anything about the booty call's wants and desires outside of that moment. I enjoy hearing this perspective on the events, hearing from the girl the '90s R&B dude has to apologize for seeing, because that's a person, too, that's a person who's alive and lives a life of their own. It took us until 2017 to get the side piece's take on things. What were the rest of us doing?

(90) "New Rules," by Dua Lipa

This is really enjoyable. Nothing terribly complex, just a "don't fuck your ex" jam, but it's confidently delivered (I get the sense that Dua Lipa is a much better singer than the current musical trends are going to let her be), and I love the subtle horn drop. Evidently, the producer of this song was also involved with "Bad Liar" and "Now and Later," so I'm getting on the Ian Kirkpatrick train. I approve! Great work, all.

(93) "I Wish I Knew You," by The Revivalists

oh wow fuck everything about this. where did this come from? why am i listening to this? did 13 reasons why drop another season? who wanted this. who wanted another indie band biting the hell out of franz ferdinand. they're not even biting franz ferdinand, they're biting all those bands that were biting from franz ferdinand a few years ago, except they're doing so nakedly, "the revivalists" is code for "we have no original ideas." way to revive 2013, yeah dude, it was so long since i heard the neighbourhood, i'm so happy you're reviving four years ago. also this willy wonka-ass muthafucka's hat is stupid. i'm honestly not sure i'm reacting to the song as much as i am the stupid goddamn hat in the music video. (also: i'm not into this song, despite the presence of a saxophone. i have limits. i'm not gonna go home with just any brass instrument, you guys.) white men ruin everything.

(94) "Every Little Thing," by Carly Pearce

Well, number one, it's a country music song with actual drums, so it's automatically starting with 95 points out of a possible 100. This is dope. "They say time is the only healer/God, I hope that isn't right/'Cause right now I'd die to not remember." Fuck, man. That is heavy. And this is a solidly-produced song, too, there's enough going on that the song feels rich and lived-in, but not so much so that it's distracting, it's definitely in the backseat wearing a seatbelt so the lyrics and what might be the saddest fucking voice in 2017 country music can drive in peace. More from this woman, and more from other women, look how good you are when you let women do things, country music!

(97) "Learn to Let Go," by Kesha

I think this is fine. I'm not as into EDM-lite Kesha as I am Kesha declaring her womanhood backed by a million beautiful horns, but this is fine! Three songs. Three songs is enough distance to start delivering back-handed not-criticisms. But no, like, I wouldn't mind this as the opening track to the album, this sets a tone and opens up the possibility for cooler things to come, but on its own, hey! It's just alright, and that's fine! I'm just glad Kesha's making music, y'know?

(98) "All the Pretty Girls," by Kenny Chesney

this song wasn't even released in 2016, what is it doing here, what, why would, i don't, how did we end up here? what do we hope to accomplish while we're here? did he just say "don't blow my cover on freedom night?" what is freedom night? i don't -- you know what country radio, you batted .400 this week. that's ted williams hype, right there. .400 is better than any of us ever could have anticipated, and i can appreciate that you got things as right as you ever possibly could. please tell me what freedom night is, though.

(99) "For Her," by Chris Lane

...adjust that number down to .333. i'm sorry. i saw the haircut and assumed edm, which you'll agree is a fair assumption to make. this dude sucks. he is trying his best with that falsetto but, and i hate to repeat myself, you can't make your own outsized ambition an excuse for your failure. know your limits. i'm sorry i was ever lukewarm about any kesha song. i kinda feel bad for saying those things about the revivalists' hat. this was a good week apart from the bro country! "For her I would walk a straight line/Wear out the soles of my shoes for her." WOAH! SLOW DOWN, BUDDY! LET'S NOT MAKE ANY PROMISES WE CAN'T KEEP, NOW! Careful! Girls remember things you say to them! Imagine how disappointed she'll be when every day she spends with you your shoes still shine as bright as they did the day she met you.

Who won the week?

Well, 2007′s best song was a Luke Bryan joint, so that’s out. Think we gotta give it to 2017. Four shitty country songs, yeah, but 1997 countered with Spice Girls and a Billy Joel cover of a Bob Dylan song, so those cancel out, and the cream of 2017 was much better than the best 1997 gave us this week. I’m still thinking about that Carly Pearce joint, that was really cool, and it anchors an earned win for 2017. THE STANDINGS: 2017: 12 1997: 11 2007: 9 Next week: keep your heart, Three Stacks.

[1hoodmedia]

Concept Albums Are A Dying Art, Here's A Few You Should Check Out

A concept album can be defined as an album with a unified theme. In other words, it could be an album where a story is told from the first song to the last, or contain a few songs connecting a particular theme or story. Or it could an album where the performing artist(s) delve into a whole different personality or persona and pretend to be such over the length of the album.

In today's day and age, with so much emphasis on hot singles, concept albums (especially hip-hop concept albums) are quickly becoming an endangered species. Albums as a whole have grown less important with the mixtape revolution that began to spawn circa 2002, allowing artists to stay connected with their fan base by dropping material as frequently as they wanted as opposed to having to wait for some record label A&R telling them when their album was finished and they could have it released. Most recently, we've seen the newer format of the "playlist" being released by artists which have been loosely defined as a "soundtrack to one's life"??!!? Whatever. Sounds like a cop out just in case the body of work is disappointing, it can struck from the official discography. Music consumers as a whole seem to have shorter attention spans and don't want to invest 60+ minutes hearing out an artist lay out a theme/story, unless that artist already has a lot of equity built up with that listener; and sometimes even then it works extremely well, and at other times it can fall flat (see: Kendrick Lamar & J.Cole). And to be honest, it is a lot easier creatively and artistically, for a performer to put out an easy-on-the-ears single accompanied by album filler, as opposed to a body of work of 10+ songs that's meant to be consumed as a whole. 

So here's part one of a list of hip-hop concept albums that are personal favorites of mine (in no particular order) that I feel any fan of hip-hop would enjoy and be thoroughly entertained by:  

1. Prince Paul- Prince Among Thieves (1999 Tommy Boy Records): Legendary hip-hop sampling pioneer Prince Paul employs the services of Breeze Brewin' of the Juggaknots and his buttery, smooth flow to tell the tale of an ambitious MC on the rise who gets caught up in the treacherous trap of the streets. Breeze effortlessly pushes the narrative over an array of dope, diverse beats and highly amusing skits. Other legends' contributions are sprinkled throughout the project such as De La Soul, Kool Kieth, Chubb Rock, Killa Sha, Biz Markie, Big Daddy Kane, Everlast, Sadat X, Xzibit, and others.

 2. Little Brother- The Minstrel Show (2005 ABB Records): For the sophomore LP from North Carolina trio of Big Pooh, Phonte, & 9th Wonder, they seemed to want to exorcise some demons and vent some frustration with their experience in the entertainment industry (Google "Little Brother BET controversy" or "Little Brother The Source album rating controversy"). What resulted was a masterfully crafted album that used satire to skewer the collective modern black entertainment industry Bamboozled-style. Various sub-genres of rap, "black" television channels, black shopping habits, even the format for the modern R&B single at that time found themselves in the group's cross-hairs with hilarious, but thought provoking results. If you haven't already, please check out the "greatest colored show on earth"!

3. Masta Ace- Disposable Arts (2001 JCOR Records): Juice Crew alum Masta Ace comes back from a seven year hiatus to bless us with this gem of a concept album and just a great hip-hop album, period. Using his simple, straight forward flow and signature vocal tone clarity, Ace lays out a detailed story of a young man released from prison who has to get acclimated again in the streets and neighborhood he left behind while he was in prison for some time. He engages with old, familiar faces who are pulling him in different directions and he ultimately decides to do something constructive with his life while the cast of characters around him eventually meet less than desirable outcomes.

4. The Streets- A Grand Don't Come For Free (2004 Locked On Records): British rappers have never been my cup of tea (no pun intended), but UK wordsmith The Streets lays out a musical page-turner of a plot involving a shady friend, a shady girlfriend, and a missing $1000. His suspicions and reactive nature take him down some twists and turns over the course of the album/story, but it all culminates into a feel good conclusion that doesn't seem too Hollywood nor too iconoclastic.

5. Mr. Lif- I Phantom (2002 Definitive Jux Records): Boston MC Mr. Lif went all out and deep on niggas with his full length debut LP I Phantom. Lif guides the listener into and through the world of a young man coming of age who falls victim to all the trappings of young adulthood before finally repressing his rebellious spirit to go to school, get a 9 to 5 job, and settle down with a wife. Little does he know, the straight and narrow, corporate life comes with its own variety of evils and pitfalls as well. On top of that, Lif also narrates mankind's descent into madness and self-destruction in the most literal way, aided by technology. This album is not for the casual hip-hop listener.

6. RZA- Bobby Digital In Stereo (1998 Gee Street Records): Wu Tang Clan producer and unofficial leader RZA came out the gate on the conceptual tip with his debut solo LP, fully immersing himself into his alter-ego of Bobby Digital. This character seems to be part superhero, part bionic man, part pimp, and part space age rapper. RZA lets his hair down with polished, keyboard and synth driven beats accompanying raps about weak MCs, getting drunk, and chasing women. I admit, that may not sound too left field for a rapper, but it's not what you do, it's how you do it. The flow of the album, guest appearances, and next level production all made for an entertaining trip into one of hip-hop's greatest minds.   

Part 2, coming soon...