#and then that little section of lyrics goes on and doesnt even end with “as we dance to the masochism tango” :wails:

[size-two-shrimp]

Screaming and crying and punching my computer monitor (I misremembered the lyrics to a song)

[thompsborn]

do you have any spare ironhusbands or sambucky headcanons?

ABSO-FUCKING-LUTELY

oh my god okay i’ve been so fucking wrapped up in both ironhusbands and sambucky and absolutely nothing else for WEEKS because of tfatws (obviously if you have seen my endless spam of reblogs but can you BLAME ME) and the portal closed has ironhusbands so i’ve been just. oh my god i am happily drowning in this and them and i do not need nor want air. ok.

also these are all hc’s based just in canon not au, and lol warning this got so long help me, though my brain is so scrambled from tfatws finale that all sambucky thoughts are scrambled and jumbled so i wasn't able to coordinate them as well as ironhusbands so the ironhusbands section is definitely longer pfighf i'm so sorry i'm like this

ironhusbands:

when they met at mit tony didnt know shit. like. like nothing. he didnt know a single god damn thing about anything. like he was a genius he could solve any equation given to him and baffled professors when he was handed like two supposedly impossible equations to this fuckin fourteen year old and he just looked at them with like a mcdonalds burger or some shit hanging out of his mouth and just answered them no problem, but he was still such a hopeless idiot, and rhodey, also a genius attending as a sixteen year old, had to teach him the basics of life, like. making toast. tony how do NOT know how to make toast. its TOAST. you put it in the TOASTER. have you NEVER SEEN A—OH MY GOD HOW DID YOU FUCKING CATCH IT ON FIRE—

he does not perfect the clearly impossible task of making toast until he is 17 and rhodey buys him a cake to celebrate the momentous occasion even though tony went though 528 toasters

you are gold by the national parks. thats it. thats all i have to say. listen to the song and look up the lyrics. you’ll get it.

and also paper planes by jon bellion but specifically for after rhodey tells tony he’s gonna join the air force and tony is worried but doesnt know how to show it and they have like a chill night in and all tony can think about is how stupid he is and how he’s such a coward because he cant get himself to tell rhodey that hi!! i love u!! and im scared to lose u and that you’ll get hurt and maybe die or smth!!

when rhodey finds out about how tony was raised (going with mcu, where tony wasnt physically abused but more emotionally neglected and ignored by howard and always talked down to and compared to others and wasnt treated like he was worthy and never was told he was loved and everything like that) he gets PISSED. like he is MONUMENTALLY angry. and it takes YEARS for him to find out about this too. and it actually puts a bit of a strain on their friendship for awhile when they meet too

like rhodey knows about the starks obviously and he assumes tony is going to be this obnoxious arrogant rich boy asshole and is so not looking forward to being roommates but he was raised to have an open mind and give everyone a chance, but tony was raised to be wary of everyone and keep his walls up and his emotions in shackles because whatever he shows can be used against him, so they clash, you know? they dont fight or anything but theres tension bc it isnt right and they dont get each other.

rhodey tries to be nice and tony doesnt understand nice because his only example of nice is jarvis and his mom and even then his mom and jarvis are always off with his dad so he barely sees them so its still rare for him to experience the nice of them so he doesnt know how to be around someone nice all the time, and so he gets defensive and thinks about how howard drilled it into him to be wary and he thinks maybe rhodey isnt ACTUALLY nice but someone PRETENDING to be

and rhodey starts to feel justified in assuming the worst about tony stark because tony is all cold and distant and rude and is about to stop the keeping an open mind thing about a month into their first year but then he comes back to their dorm early from class one day and tony doesnt come in so rhodey is just standing there and watches for a minute as tony sits there staring down at his twenty sixth attempt at a letter he wants to send his mom becauss he knows his mom likes letters even though he could just call but they havent really called him (howards fault but he’s fourteen still and its hard to rationalize that howards busy life and controlling thumb extends past his son) and rhodey is just confused because tony just suddenly sighs and sniffles a bit and murmurs “this is so stupid” and crumbles up the paper and throws it in the garbage and rhodey cant help but peer into it and barely sees the words hey mom scribbled at the top and that. that. hm. okay.

so rhodey keeps trying because he wasnt supposed to see that but he did and now he kind of has a feeling that maybe tony isnt all that cold and distant and rude as he seems, maybe he just doesnt really know how to be any different, so he thinks about all the subtle little ways that his family has shown him they care about him and starts to invite tony to go get food or to study together even though neither of them really need to study or to help each other with assignments or just anything thats mundane enough to not raise suspicion but still starts to open the door and make tony relax around him just that little bit and then before tony realizes it the end of their first year is there and theyre like friends or something and it hits him that he’s gonna miss rhodey.

for the first time ever there’s someone other than his mom and jarvis that he’s actually going to miss.

rhodey grins at him and says that they’ll be roommates again next year because they have to be and that the summer will be over before they know it and the sentiment is nice but tony spends the summer alone wandering around a house too big and empty after being in a dorm that’s small and has a friend.

but rhodey doesn’t know this. like he knows that tony isn’t the kind of guy he originally assumed but he doesn’t know that he’s literally ignored and neglected and like emotionally and sometimes verbally abused so he’s kind of surprised when the next year begins and they DO end up being roommates again (because tony kind of asked his mom, on a rare day when he got to see her and howard wasnt around, to get mit to make sure they could be) and tony just HUGS him like its been years and they’ve known each other forever but he goes with it and hugs him back because maybe tony’s just more affectionate once he gets to know someone and rhodey is okay w that.

they get closer as the years go by and they graduate from mit together and they’re BEST friends and at the end of the year rhodey invites tony to spend new years eve w his family but tony cant bc howard is having some kind of gala starting at 5 because hes weird and dumb and tony hates it and he also isnt given the option of not going even though he doesnt want to but the entire way there howard drills into him about not fucking up and berates him for all the times he has in the past and when they get there tony is already just not feeling it so he’s like nope!! no!! i simply cannot!!

so he goes in and finds an exit thats in the back and he leaves and finds a fucking payphone of all things and he has rhodeys home number memorized for years now and he calls and someone he doesnt knoe answers and theres music in the background and voices and tony’s entire stomach is in his throat and his heart is sunken into his twisted gut because he just wanted one night where maybe he could smile next to his parents and feel like he fit with them but he couldnt have that and he asks to talk to rhodey and then he is and asks if its too late to accept his invite and rhodey is like yeah of course do u need my address bc its still only 5 pm and its a 2 hour drive between south philadelphia and manhattan so he’d make it with plenty of time before it got to midnight so yay

and tony is like. oh. hm. i dont know how to drive actually. that was a thing that no one ever thought to teach me even though i asked about it about ten million times. and rhodey is used to tony not knowing how to do things that most people their age can (see: the toast) and plus its not uncommon for people from new york to not drive anyway so he doesnt think anything of it and instead asks for tony’s address to come pick him up instead and they’d still make it back by like 9-9:30 so that would work too

and thats when tony is like. well.

about that.

he might be calling from a payphone.

on a random street corner.

and its kind of raining. and he’s cold. and he’s a bit dulled out from everything so he doesn’t really think about the fact that admitting this is going to lead to having to explain what happened and also why and that is happens often. but that doesnt matter because he kind of just wants to be with his best friend and not back at that gala with his dad right now.

rhodey is like,,, ok. ok. wheres a coffee shop nearby u can wait in. and tony thankfully is by a 24 hour one and tells him the name and the street corner its closest to and rhodey is like i’ll be there asap and tony goes and he waits.

a two hour drive turns into an hour and a half because rhodey is Worried™

but when he walks in tony goes from being all dulled out to being all HOLY SHIT because rhodey has a SPLIT LIP and he’s like WHAT THE FUCK HAPPENED WHAT THE FUCK WHAT

and rhodey’s like no no its good my uncle was having fun and trying to wrestle with me and he accidentally elbowed me its all good man dont worry about it

tony isnt used to accidentally being hurt tho so he’s still like hmmm but he takes rhodeys word on it and they head out and tony wont say what happened or why he was calling from a payphone ?? which btw tony literally only was able to do bc there happened to be dropped change on the ground because boy would not have change on him ok, but rhodeys like alright lets go with this for now

so they gets to the rhodes house and it is in full swing with family and extended family and adopted family bc they are 100% the family that just adopts the neighborhood kids and the people who have no one else and like ex boyfriends and ex girlfriends even after the relationship ends bc they still are family despite not dating whoever it was they had been dating in order to be introduced to them so its a LOT of people and tony is like. this is semi familiar in terms a lot of people but this is NOTHING like what he has ever seen before holy fucking SHIT

rhodey is just like oh u have a small family then? so ur used to smaller gatherings?

and tonys like wtf are gatherings

and rhodey is starting to get a feel for what might be wrong but just takes tony inside to get him changed because he’s not spending new years eve at the rhodes house in a fucking expensive suit ok

tony is completely out of his element and like he’s not the only white guy there bc again the rhodes adopt people and those people are of every race and nationally you can imagine but he just isnt used to the vibe there are people laughing and sitting close together and playing games and theres music playing but not like classy music its music people can dance to and are dancing to and the food isnt the food he’s used to at galas and shit and nothing is what he’s used to and he just sticks to rhodey’s side like a fucking lost puppy and tries his best not to look like an idiot when rhodey introduces him to people and a lot of them know who he is but dont judge him or assume shit about him bc obviously if he’s friends w rhodey then he’s a good guy and they want to know him and thats enough

but tony is v overwhelmed bc what the FUCK IS HAPPENING this is nothing like anything he has ever experienced EVER

so eventually rhodey can tell he’s getting overwhelmed and takes him inside and lets him have a breather and then asks him about whats going in and thats when rhodey learns about what tonys life at home is really like and. anger.

SO MUCH anger

because not only has every single assumption he has ever made about tony been proven wrong, but now he knows that the best person he knows has never been treated the way he deserves and has never known a true home and comfort and love and safety and

and he’s gonna fix it

and this is the first step

so he takes tony back out and they’re still just friends but this is the day they both quietly realize they might kind of definitely like each other as more because tony is still so confused by the fact that what he knows isnt the normal and overwhelmed by how much there is and how different it is but rhodey holds his hand as a grounding point and whenever it might be too much they move off to the side where they arent completely gone but its less hectic and a bit more quiet and its just nice

tony goes to rhodeys house for every holiday despite whatever howard says

rhodey decks howard the only time they ever meet before tonys parents die and he has the most shit eating grin on his face afterwards that tony cant help but lose his shit laughing his ass off

anyway i didnt mean to ramble for so long about that specific idea so i’ll end the ironhusbands ramble with this one last thought, which is as follows:

rhodey gets hurt in the air force at some point, and it isnt that bad tbh but he does have to go the hospital and shit and gets stitches or whatever idk i dont know what specifically happens i just think it’d be just bad enough that it takes him a few weeks to be able to go back to work but he’s not like OH GOD HURT yk?

but like stated above tony was scared and worried when rhodey told him he was gonna go into the air force so he hears about this and they’re probably like almost 30 at this point because they’re dumb and it takes them forever to get their heads out of their asses (i say this even though in the portal closed it takes them even longer but i digress) rhodey has like his mon his sister his niece visiting him and they were worried but they know hes fine so theyre just talking and in a good mood and then—

door slams open. tony stark enter stage left. disheveled suit, fresh from a meeting he definitely was not supposed to leave, having flown in from maibu the second he heard and then had happy drive him and then got impatient because of traffic and ended up sprinting like ten blocks while happy was like what the FUCK

of course rhodeys family are well aware that these idiots are desperately in love with each other so they’re just like lol ok and just leave the room while tony starts fretting over him like he’s about to die himself if he doesnt know if rhodey is okay and rhodey is like tony tony dude tones stop tony im okay tony stop it

until finally tony just fucking breaks down like full on tears in his eyes voice cracking hands clasped as he leans against rhodeys bed and tells him that he was so scared and he is so scared all the time whenever rhodey is out there because all he can think about is losing him and him getting hurt or dying and it’s maddening and this is when they get their heads out of their asses and kiss for the first time

(irony at its finest bc later when they are married and tony becomes iron man rhodey refuses to not have a suit of his own because if tony is going out there in a metal flying tin can then he isn’t going alone and wow what a power couple)

sambucky:

firstly i’m going to go post tfatws, but i’ll make a bullet point before going into it so if you wanna read up until that point you can but most of this will be random little headcanons based post tfatws

also it isnt like a whole plotline thing like the ironhusbands ones ended up being these ones are more random and kinda all over the place but loosely connected

update from after writing this: i lied

let me start by saying my interpretation of why they are the way they are in civil war is because of steve

thats not saying steve is the bad guy i mean to say that they’re jealous of each other because they thought that THEY were steve’s best friend who the fuck is THIS guy i dont want him here go away

children. they are children.

which i find very funny to imagine from sams pov because he literally is a licensed therapist and would 100% recognize why he’s acting how he is but he’s petty enough to do it anyway

and also he literally was helping steve track bucky down but i like to imagine that sam didnt think they’d ever really find him again and it’d just make him and steve like super mega best friends or something because hes a CHILD

and then from bucky’s pov steve goes through all this trouble to find him and protect him and then this random guy is acting like steve’s best friend and gets to sit in the front seat ??? bullshit. absolutely bullshit. worst thing ever. so stupid.

its so funny to me okay its SO funny

its like that schoolyard thing where your friend makes another friend and you hate it so much that you do something stupid like color on their drawing or put gum in their hair or whatever but they’re adults with 1. super soldier serum or 2. a superhero reputation/avengers status and suit with wings. so thats a thing.

post civil war i dont think they get much yk. because bucky is out in cryo and team cap is on the run and i doubt theyre able to return to wakanda much, if at all, and then it’s infinity war and then it’s endgame and after endgame there’s the aftermath and the aftermath is a mess

i like to think they have some moments before tfatws though. not many but enough for that slight foundation thats we can kind of see in episode 2 yk.

okay NOW it gets into post tfatws so!!

SO post tfatws everything is different because now they not only have spent all this time together, but they understand each other in a way that they didn’t before. in a way no one ever has. not even steve, who may have known them before, but he isn’t here anymore and he wouldn’t understand who they are now vs who they were before and it’s different.

bucky finds comfort in sam’s home town. sam finds comfort in watching bucky find a home there and he doesnt know why.

also sam treats redwing like a puppy and lets him fly around on his own and gets pet and stuff and bucky acts annoyed but the longer it happens you can tell he’s like “oh my god why is this thing endearing”

bucky has nightmares and sam knows this but bucky doesnt know that sam also has nightmares until one night when they’re still in sams home town and they’re staying on the boat because sams nephews are having a sleepover with some friends and they didnt want to get in the way or smth idk i just want an excuse for them to be on the boat and somewhat secluded from people but bucky already woke up from his nightmare and is out on the deck to get some fresh out and then oop

sam havin a nightmare too

because fucking of COURSE sam has nightmares he has been through some shit too!! not being able to catch riley and everything that happened since meeting steve and thanos and he turned to dust alone in the bushes ok like yes everyone that died were traumatized undoubtedly (peter my baby boy baby im so sorry that you got the worst of it) but bucky was around people but sam was laying on the ground and probably just watched his hands as he disappeared and he was alone and like. jesus christ ok.

and then steve trusted him with every weight and everything that comes with the shield not knowing how much more the shield has when he gave it to a black man and just like he has nightmares everyone in marvel does its a fact

but bucky finds out like this and he is shocked even though he realizes he probably should have been able to guess that this is a thing and he knows so much more about sam now than he ever did but this is how he learns more. he learns about riley. he learns so much.

sometimes bucky has those like “oh shit” moments where he’s like “maybe i was kind of a dick to someone who didnt deserve it” and he already had one of those with sam about the shield but he has another one because he assumed shit about sam when they were being all childish and jealous about someone else being friends with steve but like fuck

steve and sam probably got it

the not catching someone. the way it felt to try and to reach out and to miss and to have to choice but to watch as they fell.

what’s different is that steve got bucky back. he got to have that relief, eventually, even if there was the pain of knowing bucky had been taken by hydra, but at least he knew bucky had made it.

sam didn’t have that. riley didnt make it.

therefore, bucky has his “oh shit”

and bucky was already going soft around the edges with sam (as clearly seen in the last two episodes of tfatws, ESPECIALLY the finale because like did tou SEEZ ALL THE HEART EYES oh my GOD) but it’s this that really makes something in him melt and he just. he loses the last remnants of whatever tension or resentment or whatever negative feeling he may have been clutching onto.

there wasnt much left. but now theres none. now its all washed away.

its gone, and he gets it.

sam is a licensed therapist and he knew the reason he was being all dumb and childish and jealous with bucky was because steve had another best friend but also because steve’s other best friend was the guy that had been a big factor in how him and steve understood each other and how they bonded and it

it had kind of felt like they lost part of that when they found bucky again in civil war and he kind of wanted to blame bucky for it even though he didnt actually blame him at all so all it translated to was that dumb kind of jealous thing instead

but now it’s just them. its sam and bucky and it isnt steve and it isnt about steve and it shouldnt be because its about them. its about the boat and the water and the way they sit and watch the waves while the silence settles over them and the way that bucky says, “im sorry.”

its the way sam says, “me too.”

and bucky says, “you dont have to be.”

its the way they stay there until sarah comes to get them for breakfast and sams nephews convince them to play with them and their friends and the world is still shit and there is so much to do but

but its this and its them and that can wait

it can wait

they can take their time if they want to

maybe they’ve earned that much, at least

(it isn't a fast development because they're a complicated pair and there's so much to the two of them that need to figured out individually before they can even realize how well they work together, but the steps are so much easier knowing that they have the other in their corner and bucky knows that sam's home town is a place he's welcome to go and sam helps him make his own dreary little apartment into something that feels real and tangible with a bed and a couch and when they've become something that resembles stable and they've found a balance and they're okay, that's when they realize that maybe they can try for the more that sometimes bubbles under their skin and that they started to think about the more they spend time together. the warmth that sam feels every time he sees bucky playing games with his nephew and the smile that bucky has to fight to hide and still can't fully suppress when sam stands tall and proud with the shield in its rightful place, and it takes time, it takes work, it takes carefully placed bricks to build the foundation they need, but they get there, and when they do...

when they do, they're already happy, and it just makes them happier, and that's what makes it so much better.

that's what makes it worth the wait.)

[cyrillean]

today, in "things literally no one asked for": all of sasara's verses in every song and drama track, ranked from worst to best

disclaimer that if you know enough about rap to be able to actually discuss and compare this sort of thing, uh, i have to warn you i don't so you might take psychic damage from reading this. but I TRIED

(also, this does not include the stage plays songs, sorry about that. it also does not include the curry thing, because i refuse to acknowledge it, thank you.)

ALSO OBVIOUSLY THIS IS JUST MY OPINION and if you disagree id love to hear why. this is just for fun and because the funnyman lives rent free in my head

14. sasara's verse with rosho in Aikata: deep sigh... im holding myself back from ranting for 10 paragraphs about this, but i genuinely think this showcases all their flaws as partners. it's not atrocious or anything, it's just. their styles cancel out in a way that reflects all their fears come true. it's cute tho

13. Survival of the Illest: Maybe I just didn't like the live performance, so I won't be able to rank it for sure until we get the official version of this and the BAT ones, but given Dotsuhon live performances tend to be even better than the studio versions, I'm inclined to say I straight up don't like his verse here lol?

12. Wara Osaka: ......yeah this is just thoroughly meh to me. Gives me the same vibes as his verse with Rosho in Aikata. Just not interesting. At least the song itself is really fun for something to vibe with without demanding that much attention.

11. Summit of Divisions (the bit from the leaders section in the trailer): Literally the most forgettable verse in this part of the song. Not bad, just thoroughly unremarkable both in the context of Sasara's verses and in the fact that all the other leaders have STELLAR verses here. Structure wise it makes sense going into Kuko's final verse, which probably only hits AS hard BECAUSE sasara's bit passes right by you, but still.

10. his parts in N☆PS: This song is fantastic, but Sasara is really just here as the glue to tie things together- the real standouts in this one are Rei and Rosho. Still, special shotout to him counting down in a speech.

9. sasara's solo verse in Aikata: perfectly standard sasara rap. this is like the baseline of what should be expected from this clown imo. the lyrics are kinda toothless but the way he delivers it doesn't disappoint

8. Joy for Struggle: It's only just a bit above The Sasara Standard Of Quality. Real good, real fun, takes advantage of the fantastic instrumentals of the song, and his confidence carries him a long way- but let's be honest, Ichiro sort of wiped the floor with him on this one

7. His first verse in Summit of Divisions: Judged solely as rap his bit here is nothing special, but in the context of the song itself, it's one of the most fun parts, he really leans into the vibe of the song by giving a little breather that's still genuinely fun and keeps the energy going into Rosho's verse.

6. Helter Skelter: much like everything else about sasara in helter skelter, his verse here is INTERESTING... he drops a lot of his usual flair and instead delivers a very, hm, i don't know enough about rap to describe it; it's very technically impressive compared to his usual stuff? I wouldn't be surprised if this is a peek at what he sounded like in Ikebukuro. If he'd carried this energy into Joy for Struggle it would have at least been a more interesting fight

5. Division Battle Anthem +: ...I think Sasara may well be the ONLY person who perfomed BETTER in Rap Battle than in Battle Anthem. I still prefer his verse here, but it's very style over sustance. That in no way means it's bad tho because absolutely NO ONE has a bad or even mediocre verse in this song, and I appreciate his kanto-ben joke its cute

4. Division Rap Battle +: I don't actually like his verse here much, but relistening I have to admit it's actually very, hmm... it's sasara going all out with style, he does SO much in just 20 seconds. In Tragic Transistor he calls himself a southpaw rapper, and I don't know enough about rap to know if he's bullshitting or not, but this verse makes it hard to argue with him.

3. Tragic Transistor: He does not shut up for a single SECOND in this entire song, and lets none of that time go to waste. The song itself barely changes at all, and the choruses are relatively speaking very short, so he carries the whole entire three minutes by himself without it EVER getting boring. He manages to rap for a whole song about himself, without actually SAYING anything meaningful about himself, and yet STILL asserting dominance WHILE being a clown. this song is a joy to rap

2. Aikata(s): Unironically fantastic, which goes for rosho's parts as well. in many shonen Fights Between Allies (tm), i feel like even if they SAY they're not holding back, they end up being like "oh it doesnt matter who wins, what matters is that we're enjoying the battle and giving it our all" etc. well this is NOT the case here, they are HONEST TO GOD BOTH FIGHTING TO WIN, and sasara genuinely throws out some lines i wouldn't have thought he'd say to rosho. just a great battle imo

Tragic Comedy #1. Osaka Dreamin Night: talented, brilliant, incredible, amazing, show stopping, spectacular, never the same, totally unique, completely not ever been done before, COME ON EVERY PART OF HIS VERSE HERE IS ICONIC. HAI DOMO DOTSUITARE HOMPO DESU. TAMUKETARO KA HIGANBANA. IM A TRAGIC COMEDY NUMBER 1. THE BIT WHERE HE PUNS AROUND HIS NAME FOR LIKE FOUR FULL LINES. this is such an addictive verse to rap it's just so fun and bouncy with just a dash of threathening. HONA NEEEE

[alvvays-inmyheart]

✨ High listening party ✨ ✌️🌱

Fine Line - Harry Styles

(I larrie’d real hard)

This is me just wanting to listen to my music while I’m under the ahem, influence and jot my thoughts down. I think typing is way better and tumblr is the best place share that.

Listening to Fine Line...gonna relate it to larry cause it’s so LOUD. Like I feel like I’m listening to a private story ya know? Not very many albums can invoke that. I think I’ll do playlists other times but some things are better experienced like this.

Here we go...

Okay so after a few high listens and even now, this whole album is a story. Like you have to listen from beginning to end. I know he split them as Side A and Side B, etc. so if you do not see the story in this album you need to go back and listen. Also, I’m mainly writing new things that I catch. So if I don’t acknowledge some of the more obvious meanings, it’s just because I think we all can easily spot or already know them.

Finally, the songs lol

Side A:

Golden - beginning of relationship or journey? Infatuation, he says he’s hopeless and goes into the chorus. I don’t wanna be alone, he feels it take a hold, take control (no control reference?!). Even though it goes into “take control...of who i am), the end of the control line has a pause before saying “of who i am”. So, it works for both. This song is for sure about the beginning and being in love. 

Watermelon Sugar - Watermelon Suuuugar!!!! SOrry typing this as I am hearing it. This is about the beginning and cant get enough of that person. Like I know it heavily relates to oral (love to see that) but the whole song is just tasting like EVERYTHING about that person. But this is all bliss of the relationship. Think he may have even said that in an interview? Yes? Watermelon Sugar HIIIIIGIHGIGIGIGJH. ALSO, my crack theory, tin hatting, clown shoes wearing, mind could not stop focusing on the “I’m just thinking aloud” line. Okay listen, that is the only lyric not repeated from the  pre- chorus. All the other lines from the pre-chorus, chorus are repeated. The verses are all different so that doesn’t apply. But when he sings the pre-chorus the second time, he doesnt say that. The reason I think it matters, is because I think that was a nod to “Thinking Aloud” by Ed Sheeran. H says he adds little lyrics and references only people he is close to would know. Thinking Aloud is like suuuuuch a love song. Might be relevant to him and L and like a thing btwn them? I know it sounds dumb but i can’t help tinhatting right now lol. THis is why these are *high thoughts*. 

Adore You - Same. As in same as the 2 above, love and first stage. He gets lost inside his eyes? Really? Gotta be about L. Pretty sure he’s mentioned liking his eyes or eyelashes. Also, wow so much summer vibes. That’s obvious but i cant stop thinking about that lol. H just wants to love this person. And we know who that would be...just saying 

Lights Out -  wow. I forget I like this song so much, Oh wow okay so I rewinded the song 3 times. I keep catching things that stand out. The beginning verse sounds like he is repeating a conversation. He does the back and forth with the way it was produced. I forgot the actual term though. Back to the original thing, he says “what do you mean ?” I’m sorry by the way,[I’m} never coming back down. Can’t you see I could, but wouldn’t stay.”[I] wouldn’t put it like that.”what do you mean ?” I’m sorry by the way. {i’m] never coming around. It’d be so sweet if things just stayed the same”. Is “sweet if...” a “sweet creature” reference perhaps? Idk, I’m just a sucker for lyric connections. Or even watermelon sugar. Cause it’s part of the Side A section, so this is all happening in their period of their relationship”. “Do you know who you are” Lights can mean anything but I feel like it refers to the lights of a concert. Like lights up and all these fans {think) “they know who you are”. Sweet if things stayed the same repeats again, it really stand out to me man. The lights, fame , whatever, couldn’t heal his heart is what I get from couldn’t shine into his dark heart or whatever he says. The know who you are thig is for sure about him. Like this song is about H feeling comfortable now and has found himself. 

Side B People!! - oh man let’s get sad. 

Cherry: Okay so before anyone comes at me. I do think this song at least some partial part is for Camille. I know. I know. But like not at all in romantic sense.  But like I said hear me out. This is about Camille and D. I know D passed away because it was really heartbreaking to the pro - skateboarding community and he was known for a few skateboarding films, one of those is titled Cherry. I saw on instagram for his passing she said he was the love of her life. But later on, I saw some other people on tumblr had also thought about this and dug more into it. Camille was with D and she has expressed how HE was the love of her life. She makes that known. I think H wrote this for her and D too. That’s why he said the song didn’t feel like it was finished without her voice recording from a phone call she took. Because it is her song in some way. The reason why I think that is because D won a skateboard award for the Supreme skateboarding video known as Cherry. He was known as a pro. It’s what Rolling Stones say was one of the important points of his career. Camille was at least friends with him if not already dating by this point. Sadly, he passed because of cancer. He is so respected in the Skater community. And I can see Camille and H having a friendship were she has expressed this to him. I believe this b/c this PR relationship had the most interactions I’ve seen from him and I want to say it was longer? Maybe they really got along. Could be wrong, I didn’t really pay attention to them when they were seeing each other. But I can see him doing this for her. Also, he liked to write songs for people so I see that even more. Now let’s get to analyzing... 

First verse, I think it is supposed to be from D’s perspective. The second verse is C’s perspective. I think I believe that cause it starts with a pronoun. The second verse is D to Camille? The I confess, you are at you at your best, I’m selfish so Im hating it”. Is her saying I know you are not suffering anymore but I am selfish, as in I’m selfish because I want you here. She knows he is better now that he was passed because he doesn’t have to deal with his illness. At least the see a part of me in how you dress. Take it as a compliment. Especially cause D’s aesthetic is LA skater boy. He is one the guys that inspired the cuffed jeans look. Okay, so verse comes back, it says I still miss your accent and your friends. Means she misses his voice. And then the “and your friends, do you know that i still talk to them” is her way of saying she keeps in touch with his friends after his passing. And yeah, its.a convo between them almost. And it is H’s song in some way, because it is a song about jealousy, and he’s mentioned before he gets jealous. And in the interview with Rolling Stones, he says he had the tune and he recorded Camille talking while he was playing the guitar because she was talking in tune to the guitar or something like that. So that means in some way he always was going to write Cherry for Camille and include her. I think that because he was already working on Cherry when he and Camille were together, so it seems less likely it’s a post- break up song to me. He could have added the gallery lyric after to make it more obvious for the general public? I knoooooow this may be super far fetched but I can see this. I can also see it being a simple breakup song too. But I just wanna throw this theory out there. 

Whew. Alright so I’m going to do a part 2 cause I’m tired of typing and I’m just gonna vibe for now. But man, did not know I was gonna get invested into this.  ✌️😊

[deadcactuswalking]

REVIEWING THE CHARTS - CHRISTMAS SPECIAL: 9th December 2018

Geez, today was a busy week. Before we talk about the top 10, however, let’s just get the massive elephants out of the way.

CHRISTMAS NONSENSE

It’s the festive season and one way people celebrate the holidays is by listening to its music – usually, Christmas music, of course, and since I review all returning entries that I haven’t talked about yet, sigh... There are seven of these so I’m going to go as quick as possible, but just bear with me throughout this section because I really don’t like Christmas music all that much. Let’s just get it over with.

#39 – “Rockin’ Around the Christmas Tree” – Brenda Lee

This is “Rockin’ Around the Christmas Tree”, a song written by Johnny Marks and released in 1958 in the US, being left on the shelf for four years until its release in the UK in 1962. In 1963, it peaked at number-six and has since re-entered due to digital downloads, with one of its highest recent peaks being number-seven last year. It’s pretty inoffensive rockabilly, with some nice very-50s guitar licks coming in throughout, and some decently-sounding production, but really it’s not anything of internet until that sax solo. That solo is freaking gorgeous, and I’m glad it’s there, because otherwise this would just kind of fall to the wayside. Not sure I like Lee’s voice on here, it comes off as a bit nasal, but it’s not a big deal. It’s alright, I guess. I expected to say RIP here since she was popular such a long time ago, but no, she’s still alive and kicking. Good for her.

#36 – “Merry Christmas Everyone” – Shakin’ Stevens

Now this is where it all breaks down into dread. This song by Shakin’ Stevens is Godawful, mostly because of how painfully manufactured the whole thing is. It’s overproduced Christmas music that is just jolly feelings and nothing else. Those horns that kick in after the first verse are pretty cool, but Stevens doesn’t sound great here – or at least I can’t tell because he’s drowned in reverb – and the choir might as well be a computer for all I care. Also, the sax solo was cool the first time in Brenda Lee’s track, but here it’s just trite, especially when you add those shooby-doo-wops over it. This track was initially the Christmas number-one for 1985, and I understand why, but does it really have to come back every year since 2007 – for over 60 weeks in total? Oh, it peaked last year at #10 too. Let’s hope this upwards trend doesn’t continue.

#35 – “Santa Tell Me” – Ariana Grande

Now for a more recent one from arguably the biggest popstar in the world right now, with her 2014 song that actually failed to chart in the Top 40 initially until last year at #29, and that’s its peak so far... whilst I’ve never been a fan of the cleaner, refined Ariana Grande records, I do have a soft spot for this one. That melody is infectious and the sleigh bells complement the synth bass in a way I didn’t think they would, and it’s not like the drums are all that overpowering here, although a trap skitter would have worked better here (yeah, I know, not something I say often). It’s surprisingly romantic and sensual for a song with Santa in the title, actually, although it’s about men who have wronged her. Anyway, Ariana kills it but what else do you expect from a song from her at this point? It’s a good track, although the final chorus with the choir is really cluttered, just saying, it’s messy.

#30 – “It’s Beginning to Look a Lot Like Christmas” – Michael Bublé

This here is Michael Bublé’s cover of traditional Christmas classic written in 1951 by Meredith Wilson, and it’s not great. Obviously, I mean, it’s Michael Bublé, ever since “Haven’t Met You Yet” he’s been utterly useless seasonal radio fodder. Bublé never really sounds bad but he never sounds interesting, and this production isn’t doing him any favours. It’s sickly sweet strings and brass for the most part, with some piano added in there for good measure, after what seems to be way too long of just airy synth, string and guitar noise – that’s really out of place, guys, why is this on the single edit? Ah, what else to say? Oh, right, nothing.

#26 – “Do They Know it’s Christmas?” – Band Aid

Oh, I know it’s Christmas time, alright, this song won’t let me forget it. I could ramble on about how preachy and awful this charity single is but other people have done it better. I just have four short things to say – 1.) this was the most popular song in the UK of the entire 80s. Yikes. 2.) This is the worst thing the Boomtown Rats have had any involvement in. They’re such a great band, hell so are Culture Club. How do Boy George, the Boomtown Rats, Ultravox, Phil Collins, U2, Kool & the Gang, Sting and Duran Duran make something this awful? They’re all absolutely fantastic musicians in their own right. 3.) That synth that kicks in after a while is pretty ugly, not gonna lie, and is unfitting for the condescending Christmas charity single angle they’re going for here – mostly because that’s what it really is. 4.) We’ve remade and reissued and re-entered this song too many times. Let it go, Britain. Please. We’re begging you. It’s for a good cause, and I appreciate how much money it’s raised, but it’s also garbage.

#18 – “Fairytale of New York” – The Pogues featuring Kirsty MacColl

They use the word because it was the 80s, it’s not meant to mean homosexual and it’s not used in that context – albeit still a negative one – and the climate of Ireland, especially the Celtic punk scene, wasn’t exactly going to care about dropping that slur in their Christmas single. It should still be censored, though, I mean, black rappers saying the N-word is morally okay, but we still mute those, right? Anyway, this is one of the best songs I’ve ever heard. It starts with a beautifully elegant piano melody, with the lead singer of the Pogues, Shane MacGowan, mumbling his way through his verse, but instead of people like Future or Lil Baby, there’s still a lot of sincerity there, I feel, and a lot of soul is put into expressing the lyrics here in the raspy tone that I absolutely love. I’m not going to talk much about the story here mostly because I’m not going to go in-depth, but it’s about a typical love story going awry at some point due to a betrayal. Oh, and the moment the Celtic traditional instruments come in is one of the best moments in music – ever. Kirsty MacColl sounds so lovely here, and the harmonisations in the chorus are fantastic. That flute solo is gorgeous, and the juxtaposition between “you’re a bum, you’re a punk, you’re an old s--- on junk, lying there almost dead as a drip on that bed” and the cheerful instrumental is just hilarious to me, especially since right after “Happy Christmas your a---, I thank God it’s our last” is immediately followed by the bombastic drunk sing-a-long chorus. The third verse is also such a great back-and-forth, man, I can’t even bring to words how much I admire and adore this piece of music. This is the best song I think I’ve ever talked about on this show, by far, but it could have easily not been close if “2000 Miles” by the Pretenders returned this week. We’ll just hope for next week, I guess. Rest in peace to Kirsty MacColl, gone much too young.

#14 – “Last Christmas” – WHAM!

Finally, we have our last Christmas song for this week’s holiday REVIEWING THE CHARTS special. It’s an anti-climactic end, to be honest, because I’m pretty indifferent to this song. It’s pretty 80s, to be fair, so I’ve got to like some of the cheesy falsetto vocalisations from the late George Michael at the start, as well as those repetitive synths that keep themselves from sounding awful by having those sleigh bells and pretty damn nice keys covering them. That chorus is iconic, but the rest of the lyrics are just forgettable. Honestly, it’s a good background song and it’s a well-written, catchy pop track with Michael putting in some good vocals throughout, but, it’s nothing special. Nothing but respect to George Michael, though, rest in peace, he’s a pop legend over here.

Christmas Conclusion

The best Christmas song on the charts right now is easily “Fairytale of New York” by the Pogues and Kirsty MacColl, but an Honourable Mention goes to Mariah Carey for “All I Want for Christmas is You”. Yup, that’s still here, we’ll get to that in a second. Worst of the Week goes to Band Aid for “Do They Know it’s Christmas?” You should be ashamed, Bob. Dishonourable Mention is going to Shakin’ Stevens for “Merry Christmas Everyone”. Other Christmas songs you should check out are “Christmas in Harlem” by Kanye West, Teyana Taylor and CyHi tha Prynce featuring Musiq Soulchild (heck, check out the longer version if you wish), “2000 Miles” by the Pretenders, “Stop the Cavalry” by Jona Lewie, “Christmas Lights” by Coldplay, “You’re a Mean One, Mr. Grinch” by Tyler, the Creator and “Rudolph the Red-Nosed Reindeer” by DMX. Yes, those last two actually exist. Now, this Christmas section has taken longer and is longer to read than about half of my normal episodes, so I think we should get straight into...

Top 10

Well, this all feels a bit more familiar. “thank u, next” by Ariana Grande is still at the top of the charts five weeks in, and it doesn’t really seem to have much competition.

Ava Max, however, is making a surprise run for the top, up four spots to number-two, with “Sweet but Psycho”. I wouldn’t exactly be complaining if this hit the top either.

“Without Me” by Halsey is up a spot to number-three.

We have a new entry from the most recent X Factor winner, Dalton Harris, with a cover of Frankie Goes to Hollywood’s Christmas classic “The Power of Love”, featuring James Arthur. I guess awful Christmas songs aren’t going away for that long, huh? Obviously this is Dalton’s first top 10, and Arthur’s fifth.

“Thursday” by Jess Glynne is down two spaces to number-three.

Up a whopping 28 spaces this week to number-six is, you guessed it, Mariah Carey’s “All I Want for Christmas is You”. This isn’t its first top 10 turn, and it’s not its peak, but still impressive to reach here nonetheless.

This means “Woman Like Me” by Little Mix featuring Nicki Minaj is down five spaces to number-seven.

“Rewrite the Stars” by James Arthur and Anne-Marie has actually gained nine spaces, surprisingly, and to my dismay, to number-eight, becoming Arthur’s sixth and Anne-Marie’s fifth.

Oh, and if you wanted even worse news, up an even larger 29 spaces is “KIKA” by 6ix9ine featuring Tory Lanez, becoming both their first (and hopefully for 6ix9ine, only) top 10 hit at number-nine. I like the song, but I don’t like Tekashi, to say the least.

We have another new entry at #10 this week with “Nothing Breaks Like a Heart” by Mark Ronson featuring Miley Cyrus. This is Ronson’s sixth top 10 hit and Cyrus’ fourth (yeah, I thought she had more too).

Now, instead of separating what happened on the charts into Dropouts, Climbers, Returning Entries, Fallers and such, let’s separate into two sections: “What Survived” and “What Suffered”.

What Survived

What survived means essentially everything that still managed to chart this week, and I’m actually surprised by how much power some of these songs have. Going in reverse order, I have no idea how “Arms Around You” by XXXTENTACION, Lil Pump, Swae Lee and Maluma managed to cling on despite a 17-space fall to #40. “Promises” by Calvin Harris and Sam Smith is down 16 to #38, “Baby Shark” by Pinkfong is down four to #37, “Empty Space” by James Arthur is down 10 to #34 (why did James Arthur of all people have the strength to stay during the avalanche?), “Hold My Girl” by George Ezra is down eight to #33, “Shallow” by Lady Gaga and Bradley Cooper is down 27 to #32 (considering both streaming cuts and Christmas bloodbath), “Leave a Light On” by Tom Walker has returned to #31 for some reason, “when the party’s over” by Billie Eilish is down seven to #28 (again, surprised this one’s still here), “Taki Taki” by DJ Snake, Ozuna, Cardi B and Selena Gomez is down eight to #27, “1999” by Charli XCX and Troye Sivan is down 11 to #24, “Polaroid” by James Blue, Liam Payne and Lennon Stella is down 11 to #23, “Let You Love Me” by Rita Ora is down eight to #22, “Better” by Khalid is down five to #20, “Sunflower” by Post Malone and Swae Lee is down seven to #16, as is “ZEZE” by Kodak Black featuring Travis Scott and Offset right next to it at #15, “Funky Friday” by Dave and Fredo is down five to #12, and everything else that’s currently charting is either simply not notable (a drop or climb less than four spaces), in the top 10, a new arrival, a Christmas re-entry or in the top 10. Jesus. Now, what’s gone?

What Suffered

This is a little nicer name for what’s dropped out in the absolute onslaught of Christmas music and new arrivals (all returning and new entries this week total to 12 songs that weren’t on the chart before). This week was an absolute bloodbath, and these are the murder victims. Former #1 “Shotgun” by George Ezra is out from #30, “Advice” by Cadet and Deno Driz is out from #28, “AirForce” by Digdat is out from the #20 debut, “Mo Bamba” by Sheck Wes is out prematurely from #27, “This is Me” by Keala Settle and the Greatest Showman Ensemble is out again from #36, another former #1 “Eastside” by benny blanco, Halsey and Khalid is out from #31, “Happier” by Marshmello and Bastille is out from #32, “I Found You” by benny blanco and Calvin Harris is out from #29, “MIA” by Bad Bunny featuring Drake is out from #35, “Always Remember Us this Way” by Lady Gaga is out from #39, “Goodbye” by Jason Derulo and David Guetta featuring Nicki Minaj and Willy William is out from #40 and finally, “Back and Forth” by MK, Jonas Blue and Becky Hill is out from #37. I’d say it’s time to move onto the New Arrivals – but before, I’d like to say that the BBC redesigned their UK Top 40 page, and it looks pretty cool. Anyways:

NEW ARRIVALS

#29 – “MAMA” – 6ix9ine featuring Kanye West and Nicki Minaj

Of course, DUMMY BOY only had a stunted tracking week last week, so we have the effects of the album this week. This is 6ix9ine’s third top 40 hit in the UK, Nicki Minaj’s thirty-seventh (yeah, I know, it’s insane), and Ye’s even crazier forty-third, and to be honest, it’s inoffensive, which is something I’d never thought I’d say about a 6ix9ine song, but, hey, it is what it is. Murda Beatz’s production is pretty cool for what it is, and I do like the eerie synth loop. 6ix9ine’s delivery is lazy and boring – and I still think we shouldn’t let rappers say they kick women out of doors – but he doesn’t last long so when Kanye comes in with that “man, oh my God” refrain it gets so much better. I’m so used to Kanye West’s pop-culture rambling, social media criticism/obsession, somehow relating to women nonsense he brings to nearly every single verse he does recently that I’m used to it, it’s just something I’ve heard before delivered relatively comedically. Nicki’s refrain and verse actually has some work put into it, unlike the dudes’ bars, so yeah, I appreciate that, although her delivery and cadence is exhaustingly blunt and straightforward, to the point where it’s just kind of tiring. There’s some decent wordplay there, I guess. This is okay enough, and pretty much top-tier Tekashi to be honest. “KANGA” also featuring Ye is even better, though.

#17 – “Going Bad” – Meek Mill featuring Drake

Meek Mill and Drake working together is something I expected to happen anyway. Meek and Drake have seemingly squashed their beef and have relaxed after the “Back to Back” situation and their popular 2015/2016 beef that revealed a lot about Drake, specifically his ghostwriting from Quentin Miller, and eventually stressed Meek’s relationship with Nicki enough for them to break up as a result. Oh, and you better believe they mention “back to back” because of course they do, it’s the only funny wordplay they can conjure up, apparently. This is Meek Mill’s first ever top 40 hit in the UK (congratulations) and in stark contrast, Drake’s forty-fifth (yes, even more than Kanye), and his thirteenth just this year (probably and hopefully his last), and it’s mediocre. I didn’t know what to expect because I’ve never really cared enough about Meek to listen to him, but an out-of-tune piano absolutely demolished by some bass while Drake spouts off with stuff like “I got more slaps than the Beatles” isn’t exactly the best first impression. Is there a chorus here, or not? I can’t tell, everything’s just kind of the same until the ad-lib break that’s long enough for Genius to count it as an entirely different section of the song than in Meek’s verse. It was “Interlude” when I looked but it might be “Post-Chorus” now. Yeah, it should be clear I don’t care enough about this song. I do like Drake’s delivery in the hook, though, it’s pretty energetic, but not enough to save it.

#10 – “Nothing Breaks Like a Heart” – Mark Ronson featuring Miley Cyrus

So, yeah, I like this. It starts with some beautiful strings right before Miley Cyrus fades in with her country twang that I’m starting to really appreciate, and those guitars come in to complement her and the deeper bass that I like the addition of, it really contrasts the otherwise pretty light production, that seems to be dramatic but kind of unfitting for the lyrical content about how the world can hurt you but heartbreak is the worst possible thing, because despite the beat’s melodrama it’s too upbeat to really work here, I feel. Ah, well, the hook is pretty memorable, and the orchestral stings is just one little barely-noticeable production quirk that I can talk about, seriously, Mark Ronson puts so much effort into crafting these songs over the years, it’s pretty great. It may be a bit too repetitive and slow for my taste, but, yeah, I can dig this. Good song, just not much to say about it.

#4 – “The Power of Love” – Dalton Harris featuring James Arthur

The girl gets Leona Lewis, the Scouse dude gets Kaiser Chiefs, yet the WINNER gets James Arthur?! Really, James Arthur? Poor dude. You must know you’re an amazingly talented singer when you get James Arthur put on your song and you still make a surprisingly decent winner’s single, hell, even win in the first place. Arthur is such an awful vacuum of talent, I was scared Harris would be affected by this but no, even with my half-bothering with the show this year I can tell he’s been consistently great, and he’s definitely not bad on here either, although the production has no unique charm to it and is just plastic Syco production as you expect, with James Arthur bringing an above-average performance (this means still pretty bad) with his moaning and straining that just pains me to listen to. Seriously, James, let’s have a cactus-to-man talk and let me teach you how to not sound like my dead cat who just popped some Xanax.

Conclusion

Worst of the Week goes to Dalton Harris and James Arthur for “The Power of Love” – at least “Going Bad” has some energy and legitimate soul to it, although Meek Mill and Drake still get Dishonourable Mention. Mark Ronson and Miley Cyrus take Best of the Week home for “Nothing Breaks Like a Heart”, and hell Kanye and Nicki made “MAMA” bearable enough for them and 6ix9ine to get Honourable Mentions. See ya next week, where we’ll probably see a few more Christmas songs. Delightful.