#but she never criticized her for her bubblegum pop music | Explore Tumblr Posts and Blogs

lilachavoc · 1 year

Text

The Cultural Reset: Avril Lavigne

Introduction

These days, if you find yourself wearing baggy jeans or enjoying Olivia Rodrigo’s music, it can be largely attributed to the 2000s phenomenon of Avril Lavigne. With the release of her debut Let Go (2002), Avril Lavigne asserted a sense of nonconformity and rebelliousness in both her musical output and persona early on. At just 17, she contributed writing credits to every track in her debut and performed with her own self-taught guitar skills. From her self-written songs to her tabloid interviews, Lavigne was never afraid to speak her truth as it flowed from her consciousness. In an era largely ruled by pop stars such as Britney Spears and Christina Aguilera, Lavigne yielded a new form of what a pop star could be. She publicly criticized big labels for manufacturing artificial pop stars and called out the pop stars themselves for conforming to a sellable and flat image (Willman, 2002). Lavigne was notable for attending interviews in her casual tomboy attire and minimal styling. Like many artists of the era, her music was most aligned to pop but often incorporated influences from a variety of predecessors in the rock scene. Though her status as a “punk” musician is a discourse of its own, Lavigne is notable for ditching labels and embracing her own style. Her debut album alone is reminiscent of Blink 182’s catchy guitar instrumentals, Alanis Morissette’s husky voice, and Shania Twain’s critical but independent lyrics (Bradley, 2018). Thematically, Lavigne’s earlier music concentrated on emotional lyrics showcasing independence, unspoken female issues, and the struggles associated with guys and romance (CNN, 2002). These characteristics altogether made her appealing to a generation of teenagers, who would be abandoning bubblegum pop consumerism for the darker and edgier market of pop-punk artists. Avril Lavigne is the most influential rock star of the 2000s because her debut established a new standard in rock music that is still referenced today.

Historical Discussion

The year is 2002, the music industry saw a shift from pop princess to the pop-punk princess archetype. Blonde hair streaks, low-rise jeans, and bubblegum pop were some of the prominent symbols upholstered by pop rivals Britney Spears and Christina Aguilera in the early 2000s. Spears and Aguilera catered to a new generation of teen audiences who coveted their manufactured choreographies, squeaky voices, and weekly tabloid gossip. That was until the first “anti-Britney” came around with her plain tank top and Dickies, un-styled brown hair, and borderline raspy voice, spreading as much debate as interest in her aesthetic of “punk” authenticity and rebellion (Willman, 2002). What made Lavigne’s emergence more threatening to reigning pop stars was that she was not a full-blown rock star nor was she a hyper-feminine pop star, she was just a vaguely edgy teenage girl. The conversations surrounding her name were not about her sex appeal or relationship status, but instead about how she appeared to behold a distinct, careless attitude. The Rolling Stone dubbed, “Avril Lavigne: Little Miss Can’t Be Wrong,” for an article that captures how the newcomer humbly received her newfound fame in the same manner a high schooler would be excited for spring break (Eliscu, 2003). While other pop stars were meticulously crafted from head to toe, Lavigne blurred the line between intentional and unintentional. She did not have to try hard to make an impression, making her all more of a force not to be reckoned with. What awed the music industry the most was how an artist did not have to sexualize herself to top the charts but could make headlines by just wearing a loose necktie and singing her personal thoughts. Her instruments were not particularly loud nor was her voice always aiming for high notes, everything from her artistic execution to her laid-back mannerisms challenged the teen idol industry with an oxymoron of authenticity (Pepper, 2019).

To many teenagers of the time, Avril Lavigne was a gateway figure into heavier rock music genres and associated fashions, while others claimed her as the heaviest artist in their scope of music listening (Kahn, 2022). Regardless, her music and style stood as a symbol of casualness, vulnerability, and “not trying too hard,” a concept that is most apparent in her debut “Complicated” (Pepper, 2019). Lavigne’s old-school, one-of-the-boys outward aesthetic made her appealing and seem attainable to both girls and boys compared to Spears who was more unapproachable and glamorized (Willman, 2002). Lavigne grew up in a small town in Ontario, Canada, and got her start in music singing in church choirs and country fairs (Ali, 2002). Her frugal background would factor into the theme of her debut album Let Go, which featured songs such as “Mobile” and “My World” that narrated her transition from being a small-town girl to a small-town girl in Hollywood. What most differentiated her from other teen idols of the era is how she did not try to appear as a woman nor as a girl, but simply was a teenager who felt “like a kid” according to Lavigne (Eliscu, 2003).

Critics interpreted Lavigne to be an industry attempt at manufacturing a marketable punk artist, often naming her a punk “poseur” (Pepper, 2019). After all, Lavigne’s music did not have any political messages and she was managed and produced by a label, even noting that she felt pressured to be more pop in her sound in order to reach stardom (Eliscu, 2003). Simultaneously, she expressed feeling content with the final outcome of the album despite the songs being too pop for her liking (CNN, 2002). When she was just scouted, Lavigne herself admitted she was not well-versed in her rock predecessors, crediting her industry mentors for introducing her to bands like Nirvana and Smashing Pumpkins with CDs (Eliscu, 2003). Although she did not grow up listening to the rock bands she looked up to, like System of a Down and Green Day, she found rock music to be “where my heart is” (CNN, 2002). Lavigne did not claim to be rock, punk, or any of that sort, but she did claim that she was “constantly changing,” following up with “that’s me” (CNN, 2002). Arguably, it did not matter whether Lavigne was punk or not because her image was just meant to be conveyed as that of a typical teenager expressing their feelings through the lens of a girl experiencing love and misery (CNN, 2002). Moreover, she can be most closely perceived as a teenager who was developing their persona and interests in real-time—just like any other teenager her age (CNN, 2002). She was not selling an image of womanhood nor a glorified punk aesthetic but that of a teenager who was discovering who they are like any other teenager—just in the spotlight. Her persona can be compared to that of Bruce Springsteen's image as a frugal middle-class man singing about class struggles, except Lavigne was not playing a role nor did she have a social motivation behind her persona—that was who she really was at the time. Lavigne’s specialization was not rock, wannabe masculinity, or even rebellion, it was selfhood. Lavigne was able to uniquely verbalize her thoughts into songs and personify her identity into her style, making every teenager want to be like her.

Musical Analysis

“Sk8er Boi” is the second single from Avril Lavigne’s 2002 debut, Let Go, and arguably is the most pop-punk track of the album. The song starts with a guitar riff and then transitions into a first-person narration, dictating about a preppy girl who regrets shallowly rejecting a skater boy when he becomes a rock star. The narration is accompanied by a guitar playing in a staccato rhythm as well as bass and drums. At 0:48, the first chorus features an upbeat but distorted guitar and drum-heavy riff with Lavigne’s vocals leading. At 1:04, after the chorus, Lavigne continues to narrate the plot behind the song. After the second chorus at 1:58, a guitar solo emerges featuring sound distortions, slides, bends, and some vibrato. Unlike the rest of the song, the bridge at 2:12 shifts from the energetic melody into a mellow melody that builds up the intensity with a crisp electric guitar. At 2:37, the chorus is reiterated with different lyrics and in a softer vocal execution to precede the revelation about how the narrator is now the one dating the same skater boy. This portion of the song vastly contrasts the rest of the song and manages to seamlessly set a more contemplative tone without sounding abrupt. Overall, the instruments, especially the guitar, create emotional depth as much as the edge Lavigne is known for. The storytelling layout of this song establishes Lavigne’s signature straight-up but memorable style. “Sk8er Boi” boasts all the qualities future pop-punk artists would mimic in their artistry: narrative lyrics, nostalgic bridges, and contagious guitar riffs dominating songs.

undefined

youtube

Conclusion

Although her music branched out into vastly different directions upon reaching womanhood, it does not discredit her persona as a pop-punk pioneer because it was who she was at the time and it would have been more superficial if she had not evolved. Perhaps Lavigne was not a true pop-punk artist during her pinnacle, however, it is evident that she coined the concept of a mainstream pop-punk princess that would be numerously duplicated by her industry descendants. This label, in comparison to punk, embodies the concept of not wanting to grow up, openly expressing emotions, and embracing the idea of not fitting in or rejecting normalcy. She did not consider herself pop-punk or try to be, which is what made her pop-punk in the first place. In retrospect, Lavigne’s status as a sort of symbolic pop-punk queen raised her to the level of a timeless cultural icon, in return sprouting a generation of pop-punk, alternative rock, and “emo” bands that embody these labels in real time.

Annotated Bibliography

Ali, Lorraine, Christopher Bedford, Ellis Henican, Josh Hammer, Mark Davis, and Caroline Glick. 2002. “Anarchy On Mtv? Tough Gals, Rejoice.” Newsweek, December 29, 2002. https://www.newsweek.com/anarchy-mtv-tough-gals-rejoice-141321.

Provides real time insight on the media’s view of Avril Lavigne in 2002 upon her rise.

ALLMUSIC. n.d. “Avril Lavigne.” ALLMUSIC. Accessed March 28, 2023. https://www.allmusic.com/artist/avril-lavigne-mn0000762885/biography.

Basic biography with factual information about Avril Lavigne.

Bradley, Jonathan. 2018. “Avril Lavigne's Fascinating Evolution & Non-Linear Maturation: Career Retrospective | Billboard – Billboard.” Billboard, October 19, 2018. https://www.billboard.com/music/rock/avril-lavigne-career-retrospective-8480753/.

Provides a thorough analysis of Avril Lavigne’s entire career and mainstream impact.

Cannilla, Kayden. 2022. “The legacy of Avril Lavigne – The Stute.” The Stute (Hoboken), April 29, 2022. https://thestute.com/2022/04/29/the-legacy-of-avril-lavigne/.

Further support on Avril’s impact in the entire mainstream music industry.

CNN. 2002. “Avril Lavigne: Teen rocker of 2002 - Dec. 27, 2002.” CNN, December 27, 2002. http://www.cnn.com/2002/SHOWBIZ/Music/12/20/mroom.lavigne/.

Article dictating Avril Lavigne’s real-time impact in the year of 2002.

Discogs. 2023. “Avril Lavigne – Sk8er Boi (2002, CD).” Discogs. https://www.discogs.com/release/2487770-Avril-Lavigne-Sk8er-Boi.

Image of Avril Lavigne in her debut era.

Eliscu, Jenny. 2003. “Avril Lavigne: Little Miss Can’t Be Wrong.” Rolling Stone, March 30, 2003. https://web.archive.org/web/20220629102223/https://www.rollingstone.com/music/music-news/avril-lavigne-little-miss-cant-be-wrong-180369/.

Can be used to describe how she was a huge phenomenon at the time and quickly dominated the charts and award show nominations.

Getty Images. 2002. “Avril Lavigne In Concert.” Getty Images. https://www.gettyimages.ae/detail/news-photo/avril-lavigne-performs-at-irving-plaza-in-new-york-city-7-news-photo/2291171?adppopup=true.

Image of Avril Lavigne’s stage charisma.

Getty Images. 2002. “Avril Lavigne poses with her Award for Best New Artist at the MTV Video Music Awards.” Getty Images. https://www.gettyimages.com/detail/news-photo/avril-lavigne-poses-with-her-award-for-best-new-artist-at-news-photo/51679754?adppopup=true.

Image of Avril Lavigne to show her personality in public.

Irvin, Jack. 2022. “Avril Lavigne Recalls Making 2002's Let Go as a Teenager.” People, May 31, 2022. https://people.com/music/avril-lavigne-recalls-making-let-go-as-teenager-didnt-know-what-hollywood-was/.

Includes quotes and real interview pieces that can be used to support my points about her persona, such as her musical influences and backstory.

Kahn, Jamie. 2022. “How Avril Lavigne shaped a generation.” Far Out Magazine, March 24, 2022. https://faroutmagazine.co.uk/how-avril-lavigne-shaped-a-generation/.

A magazine article highlighting Avril’s long term impact in pop culture and its consumers.

Lavigne, Avril. 2002. “Mobile.” Spotify. https://open.spotify.com/track/3D3B7vahQasg8rdAYrEbNT?si=717e3268244d44b3.

Used as an audio file to exemplify the sound of “Mobile,” which was mentioned.

Lavigne, Avril. 2010. “Avril Lavigne - Sk8er Boi (Official Video).” YouTube. https://www.youtube.com/watch?v=TIy3n2b7V9k.

A music video for embedded media requirement.

Pepper, Mark D. 2019. “Revisiting Avril Lavigne: Intersections of Subculture, Gender, Youth, and Authenticity.” The Journal of Popular Culture 52, no. 2 (April): 416-435. https://onlinelibrary.wiley.com/doi/full/10.1111/jpcu.12782.

A scholarly journal article that studies in depth the social impact of Avril’s music. Will likely use to brief over her influence on teenagers of the generation.

Willman, Chris. 2002. “Avril Lavigne The Anti-Britney | EW.com.” Entertainment Weekly, November 1, 2002. https://ew.com/article/2002/11/01/avril-lavigne-anti-britney/.

Gives insight on how she was compared and contrasted to other celebrities and trends of the time.

#AVRIL LAVIGNE #Youtube

8 notes · View notes

crjupdates · 2 years

Text

Carly Rae Jepsen Has a Cynical Side

But she's still optimistic about love.

The Cut • Danielle Cohen • October 19, 2022

Photography by Tina Tyrell

Carly Rae Jepsen has a lot of feelings. If you’ve heard her songs, you know this: Intense crushes, first loves, and devastating breakups make up the musical vocabulary of the bubblegum-pop princess (or queen, if you ask her fans) who pours her heart into critically acclaimed records. In conversation, she’ll casually drop deep thoughts about romance between updates on her meditation journey (she just started) and riffs on Billie Holiday. “When you feel euphorically in love,” she tells me conspiratorially, “it feels like a miracle that’s happened only to you.” But Jepsen also knows she’s not the only one who feels this way. “It’s an extreme emotion that we experience privately but is universally shared,” she says of her most frequent subject.

When I meet Jepsen on a fall afternoon in New York, the light is glinting off her star-and-moon nail decals while she gestures wildly into the aisle of the Central Park Boathouse. Dressed in a black crepe turtleneck and a quilted jacket-and-short set, she stands out amid the Canon-toting tourists and uptown retirees sitting on the Boathouse’s back porch, overlooking the park’s lake. She is, to put it mildly, happy to be here. Her eyes, accented at the corners with little clusters of face sequins, widen incredulously when our salads arrive. She speaks quickly and a little breathlessly, as if she has too many thoughts to squeeze into a single sentence. At one point, our waiter tells her she looks like an actor from House of the Dragon, which she takes as a compliment — despite having never heard of the show.

She launches into a story about planning the So Nice Tour, which began in September and will incorporate songs from her fifth album, The Loneliest Time. “I was getting so fixated on the video-wall content and the placement of our hands and where the clouds were and the moon being timed right that I was talking a million miles a minute and losing my voice,” she tells me. “I had to give myself a real talking to, like, None of this will matter if you can’t sing!” She pauses briefly to marvel at the olive focaccia another uniformed waiter forks onto our plates. Her meticulously planned celestial-themed manicure, she explains, will come off the second she wraps the tour in February. “I can’t text. Everything comes out like a haiku.” Being back in New York is a treat for the Canadian native, who decided at the last minute to stay at the Plaza in order to give herself a brief respite from her first week of tour-bus coffee and corporate hotels. “Look at this!” she sighs, beaming and stretching her arm toward the rowboat-dotted water. “Look where we are right now! I didn’t know this existed.” Her giddiness makes our surroundings feel like a cross between a ’90s romantic comedy and an advertising campaign for the city. “Days like this make me want to move to New York,” she admits.

While she may be “coquettishly” browsing apartments here, Jepsen’s home base is Los Angeles. Amid the explosion of “Call Me Maybe,” the inescapable hit that made her a household name and tween birthday party staple, the musician left Vancouver and settled in California, where she’s been living since 2012 — though between tours and festivals, she confesses, it quickly became more like where her clothes lived. In the past decade, Jepsen has evolved into a more mature musician and earned herself a spot in the pantheon of low-key pop girls with passionate, if small, fan bases and plenty of clout with music critics. Her songs still clearly come from the same artist who sang “Call Me Maybe,” and for every deeply confessional lyric, there’s an irresistible hook that loops joyously in your head for days. But the candid uncoolness of her writing, full of yearning and the outlandish fantasies that come with having a crush on someone you barely know, is offset by a surprisingly indie-leaning roster of collaborators. (Dev Hynes and Vampire Weekend’s Rostam Batmanglij have both made appearances in her liner notes alongside more predictable pop writers such as Jack Antonoff.) In the world of Jepsen’s music, the emotions are just as big as the saxophone riffs, and your most desperate, heartbreaking thoughts can become glittery pop anthems to belt out in the shower.

The concept behind her new album stems from a deep-rooted feeling of discomfort. “It’s been a lifelong inquiry that I’ve had with myself about my relationship to loneliness,” Jepsen explains. “The idea that you have to be happy by yourself — like, ‘Go be alone and be happy!’ — that’s bullshit to me. You become really happy on your own when you know you have connections out there.” She finds isolation and connection to be two sides of the same coin: Being lonely can bring people together, hopefully through music like her own. “Loneliness is a similar thing to love,” she says, digging into her “insane” peach-cake dessert. “It’s felt everywhere by everyone at different moments in their life.”

The Loneliest Time is an extension of Jepsen’s familiar, infectious sound — but tinged with cynicism. She wrote most of it during the pre-vaccine months of the pandemic, quarantined at home in L.A. Having spent most of her adult life working, traveling, and recording, she was suddenly, undeniably, “home alone with the cat.” The existential-crisis questions rushed in: Was she happy being on the road this often? Did she need more balance? Was she connected enough with her family and friends? She ventured onto a dating app for the first time, which did not help her find love but did provide the inspiration for The Loneliest Time’s summer single, “Beach House,” a send-up of Tinder clichés. (“Boy No. 2 had a beautiful face / Highly agreed to go back to his place / His wife really had some impeccable taste,” she sings in an early verse.)

But Jepsen is quick to point out that, on “Beach House,” her cynicism is “very pointedly at the sharks and not the lovers.” If she’s sneaking fewer starry-eyed ideas about love into her music, it’s because she knows she’s not the only one experiencing those feelings. “I thought music was for escapism,” she says, but a recent James Taylor concert where she found herself having a cathartic cry made her realize something else: “It’s permission to feel whatever it is that you need to feel.” While she left that concert in a puddle of tears, you’re more likely to leave one of hershows bopping your head to a flawless pop earworm. Whether you want to dance or cry to your feelings, the outcome is the same: You’re feeling them to the fullest extent.

Jepsen is a notoriously prolific songwriter — she’s said to have written over 200 tracks for each of her two most recent albums, which she hones down to an album length through a complex system of sticky notes, poster board, and listening parties. But The Loneliest Time was different. Instead of writing on the road, where she solicits constant feedback from her band, she was at home plowing through ideas by herself (and, occasionally, on Zoom with her collaborators). She couldn’t go into a studio to record as often as she wanted, which meant she didn’t have her usual bounty of tracks to whittle down. Theseclusion ended up working to her advantage. “I thought what I was making was a little bit too strange to get right away,” she says tentatively, “and I didn’t want someone to stop me by saying a negative thing I wasn’t ready to take in yet. So my artwork itself had a lonely time.”

Once she shared the album with her label, she was surprised and a little panicked to find they liked the most personal tracks — ones she initially wrote “just for me” and would now, it seemed, be sharing with the world. Ahead of Coachella, where she debuted The Loneliest Time’s folksy lead single, “Western Wind,” she gathered her bandmates and had them check off their favorite tracks on a chart she’d drawn up. The results had very little in common genre-wise, but, she says, “they all came from a place sparked by loneliness.”

Jepsen thinks of The Loneliest Time as her most experimental project yet. The album ricochets from pop to folk to smooth disco, fully shifting into new genres rather than merely taking inspiration from them. There are plenty of Jepsen-style classics, too. The opening track, “Surrender My Heart,” is a straight shot of epic-sounding pop in which she sings about struggling to be vulnerable with a new partner. “Bends” also lives in the scarier parts of a new relationship (and is true to Jepsen’s recent experience: She just started seeing someone whom she says she’s slowly opening up to). “Here’s a jar of tears I cried,” she sings, “’cause I can feel the darkness sometimes too.” There’s a slow, bitter folk ballad ingeniously titled “Go Find Yourself or Whatever,” which digs painfully into the gutting parts of a breakup instead of making them sound victorious. The title track, which comes at the end of the album, steers back into optimism and sounds as if it should be played at an ’80s roller disco.

I wonder, amid all this exploration, if anything was deemed too out there for the final cut. Jepsen’s previous two records, Dedicated and Emotion, got their own B-side releases. Will The Loneliest Time get a bolder, weirder part two? “We’ll see,” she answers thoughtfully. “I’m not sure if the world’s ready for more of that indulgence.”

13 notes · View notes

transformatives · 3 months

Text

The Art of the Edit

For many, the cold months from November to March are known simply as winter. But for cinephiles and celebrity lovers, this past winter was film awards season, when films such as Barbie, Anatomy of a Fall, and Oppenheimer were nominated for the coveted trophies. While watching the Oscars with my mother I gave my opinion on actors and she asked which of the movies I had seen. I told her the truth: that I had not watched many of these films, but rather that I had seen edits of the actors on TikTok set to catchy bubblegum pop music.

For a decent percentage of Gen Z, the art of the TikTok edit is how they know what’s hot in entertainment and how they comment on social events. However, the differing perspectives on what edit culture means can make the issue more complex than it appears on the surface. For specificity, I will be looking into online fandom spaces that are occupied by mostly women. By investigating a sort of social third place for women, we can observe the discourses and trends that arise in such a separated online space. In this post, I’ll be focusing on the discourse between editors, the audience, and how men are portrayed in this female-dominated online space.

As with most things related to modern fan culture, edits can be traced back to the original Star Trek fandom. The first recorded edit was created in 1975 by Star Trek fan Kandy Fong, who put together clips of the show set to William Shatner’s song “It Was A Very Good Year”. In the early years of fan editing (known then as “vidding”) edits were hard to come by, as they used scrapped film and distributed them via VHS tapes at conventions. With the dawn of the internet, these transitioned to online forums and later YouTube, which prioritized longer videos that usually lasted the length of a song. An infamous example of this is the Josh Hutcherson “Whistle” Edit, which recently resurfaced and was replicated like that of “Never Gonna Give You Up” by Rick Astley. The reason that the Whistle Edit became so popular again was due to its outdated editing style. It was compared to the edits of today, which are churned out by hundreds of thousands of editing accounts with often professional-level production. One must wonder why so many fans find themselves as editors when it is a form of media often looked over.

One possible interpretation of edit-making is a desire to simply express oneself through an art form. Many editors will describe their satisfaction at completing a project and posting it to adoring followers, or at nailing a certain transition-music combo that has people gasping in admiration. There’s a joy in creating without the pressures of capitalism that demand that every project should be made into a profitable side hustle. Simply put, it’s a hobby and one where thousands of fans, mostly young women, are teaching themselves video editing terms, applications, techniques, styles, etc. Don’t let the sheer quantity of edits confuse you: editing is not easy. Needless to say, it is an art form and a process that is entertaining and educational to those who create it.

But these are usually made with the intent of reaching an audience, of course. I’d like to propose the idea that fanworks are a form of communication similar to gossip. Both are looked over for their informal, non-profitable, and female-dominated nature, but are important for strengthening social bonds and communicating information about what groups deem important, appropriate, humorous, etc. When someone posts a Lord of the Rings edit of Eowyn, they can open the floor for their audience to discuss the issues with sparse gender representation in their favorite franchise. When someone posts a popular edit of a Call of Duty character with bows in their hair, they are poking fun at a male-dominated fandom’s distaste for anything feminine in their violent male fantasy game. Edits can speak to admiration and criticism of the media, even in an informal setting such as TikTok. As feminist scholar Silvia Federici writes, “It is women who ‘gossip,’ presumably having nothing better to do and having less access to real knowledge and information and a structural inability to construct factually based, rational discourses. Thus, gossip is an integral part of the devaluation of women’s personality and work…” In the same way that gossip is deemed as “idle female talk”, women’s hobbies are derided despite their role in learning and social communication.

However, this discourse can be very male-focused, which is one of the pitfalls of fandom. The majority of edits are of men, whether to highlight emotional moments or to express sexual desire. This attitude differs between and within fandoms, but the fact remains that even in many female-dominated spaces, men are centered. This can partially be attributed to the female gaze, this desire to gaze at men and express one's desires for emotional vulnerability, complexity, intimacy, etc. By taking media that is created through the male gaze and purposefully transforming it, editors can partake in the creation. They make space for themselves. This subculture reaction comes at a time when the dominant media is having another moral panic crisis against discussions of sexuality. In many ways, it’s a reiteration of conversations that have been happening for decades. A grown woman discusses explicit books online with friends or a teenage girl makes an edit of a celebrity she finds attractive, and suddenly they are obsessive and mentally unwell. Hollywood is clear about one thing: sex sells. Except, of course, if erotic materials are created and curated in the hands of women.

But I also wonder: where does this leave queer fans? These online spaces reflect the real-life complaint many queer women have, which is that hanging out with straight women means that they might only talk about the men in their lives. Lesbian fans must carve themselves a smaller niche within their respective fandoms, rejected by the rest of their peers. Some solace can be found in speculative queer fanworks, but even there men are centered. Statistics on TikTok edits are difficult to pin down, but we can look at another example of transformative fanworks. The popular fanfiction website Archive of Our Own reported that as of 2023, of the twenty top pairings written about, only one pairing had a female character. None of these pairings were a woman-loving-woman relationship. There’s also the issue that lesbian fans’ sexualities are questioned when they create fan-content about men. There is the implication that for a woman to be a fan of something, they must be interested for romantic or sexual reasons, which is demeaning and dismissive. It seems that even in female-dominated spaces, the hegemonic ideal of male supremacy unfortunately prevails.

Our external biases and hegemonic influences can affect what we enjoy and create, and it is important to be aware of these and actively work against them. Nevertheless, kudos must be given to the editors who provide their audience and peers with works of art. It is an underappreciated act to transform a dominant piece of media into something for an alternative audience. Editing provides a space for female fans to find community and feel safe in expressing both the creativity and sexual desire that they might be shamed for in other spaces. So the next time you see a Swann Arlaud edit to “Comme Des Garçons ” by Rina Sawayama, know that just like the boys, women should be confident in loving their interests.

#long post #fandom culture #fandom history

1 note · View note

jacke-12 · 1 year

Text

Faceshopping (2018) - SOPHIE

Genre: bubblegum bass, deconstructed club

Peak position on US Billboard Hot 100: n/a

Sophie is a pioneering pop producer who tragically passed away in 2021, only 34. She had an incredibly unique, immediately recognisable bubblegum bass style and released one of my favourite albums of the decade - Oil of Every Pearl's Un-Insides. "Faceshopping" is a single from that album and is in my view a great song to get a sense of what her sound is like.

Structurally it is very simple: the song transitions between quiet spoken word sections, with threatening but muted underlying synths, and the explosive, chaotic sections where the synths sound like someone sawing as violently as possible on a violin from the future (as well as a brief, surreal, sung bridge). The drums are ear splitting and lack a consistent rhythm, acting more as sound effects alongside the strange clangs and squeaks. The vocals are distorted to the point of sounding guttural and menacing, but leave the lyrics incomprehensible. On first listen it is possible that you wouldn't notice the vocals at all. Deconstructed club is a very accurate genre name: it feels like you can hear a somewhat normal dance tune in here somewhere, with the occasional catchy "na na na"s, but it is lost in an abrasive mess. I admire anyone who finds a way to dance to this.

All of this sounds like a criticism, but it works so well. Perhaps it is because it feels like something completely new with sounds we've never heard before; it challenges our understanding of what makes a song good or catchy. It is deliberately obnoxious and yet so easy, so fun to listen to. Describing it makes it seem like harsh noise, but it is a pop track - it is somehow infectious, and is never hard work. Sure it might be too much for some, understandably, but this is truly a fun, addictive song, and the loudness and abrasiveness of it are thrilling. And I hope that her popularity will continue to enable more experimental and unorthodox pop music to find listeners.

SOPHIE played a huge role in this era of hyperpop music that I find really exciting. This song is, to me, the most obvious choice to demonstrate her distinctive and groundbreaking style, and also just a fantastic song in its own right, being unlike anything else you will hear. Of course, listen to the album in full; it is perhaps uneven but it is always so entertaining and always trying something new.

#music #music history #music review #song review #pop #favourite songs #faceshopping #sophie #hyperpop #bubblegum bass #deconstructed club #Spotify

1 note · View note

fighterkimburgess · 3 years

Note

What are these characters guilty pleasures?

Matt, Sylvie, Kelly, Stella, Hailey, Jay, Kim, Adam, Will, Kevin, Connor, Sarah, Natalie and Mouch

I’m answering this sitting waiting for the doctor, so I am a Very Happy Human.

Matt - splurging on really nice food. He’s been really frugal for so long, but every so often he’ll buy some really nice steak, a Good bottle of whiskey, and all the trimmings. Once he and Sylvie start dating he adds a bottle of her favourite wine when he does it.

Sylvie - cheesy romance novels. She just started reading them for “research” for sheets on fire, but she loves them. She finished the Bridgerton and Virgin River series before the Netflix shows.

Kelly - teenage rom coms. Stella got him into them with Mean Girls, he’s now a connoisseur of 90s and 2000s teenage films. His favourites? Clueless and Legally Blonde. He cried when Elle proved just how good she is.

Stella - she listens to bubblegum pop when she’s alone in the car. No, like…one of her favourite albums is the Hannah Montana one. Nobody will ever know she does this. Except when she forgot to put Spotify on private session.

Hailey - She basically only buys fancy underwear at this point. She’s been kidnapped and shot at too many times, if she’s gonna end up in hospital she wants to be matching. Not that Jay minds.

Jay - he likes watching critically panned war films and working out exactly how many ways everyone should have died before they actually do.

Kim - you know those awful police procedural novels? Usually involving a like six foot ripped dude who has sex with multiple women, breaks every rule, but gets the bad guy? Yeah. Her kindle app is FULL OF THEM. They’re badly written but they make her giggle.

Adam - …is it bad to say sex with Kim? Because we all know that’s it, right? But Kim introduced him to a sheet mask and relaxing in a bubble bath. He’ll deny it till the day he dies but he does it once a month. How else do you think his skin is that glowy?

Will - playing guitar to country music. He never admits just how much Garth Brooks he listened to growing up, and he listened to a lot of Brad Paisley in Med school. Jay walked in on him crooning with a fake accent once and has held it over him since.

Kevin - horror movies. The man’s a horror buff, it started when he took a college course on the history of horror thinking it’d be an easy class, but he loves it. Every Halloween he gets tickets for a horror movie festival.

Connor - he likes leaving twenty dollar bills in his friends coats. He hates his money, hates that he’s rich and everyone knows. But this way he can spread it a little, and it always makes peoples day to find money they “forgot about”.

Sarah - after a long day at work, Sarah Reese sits down on her couch with a bowl of popcorn covered in nutritional yeast and watches Real Housewives. She’s up to date on all of them, and whenever there’s a reunion she loves it.

Natalie - taking the batteries out of Owen’s toys. Look, there’s only so much electronic screeching she can deal with after work, this is easier. She feels awful about it but loves it anyway.

Mouch - when Trudy works nights that he’s off, he stays up to watch her shows and text her a play by play of what’s happened. She loves Dancing With The Stars, and he’s grown to love it too because of it.

#cíara answers #cíara headcanon

9 notes · View notes

gunterfan1992 · 3 years

Text

Season One of “Adventure Time”: Short Episode Reviews

At the start of 2021, I had this idea to write up a book wherein I reviewed every episode of Adventure Time, condensing my thoughts down into a few paragraphs. It seemed easy enough at the time —I could knock a season out in a week, no prob, I thought — but it turns out it was quite the challenge. Part of this was the difficulty of boiling everything down into a few coherent paragraphs that didn’t just repeat the ideas that “This episode is wacky. This episode is bad.” (I was also dealing with untreated ADHD, so that probably didn’t help.) Even though it was a hurdle, I still got through seasons 1-4, and I thought I’d post my reviews here. Maybe one day I’ll do something with ‘em, but for now, enjoy!

Season 1, Episode 1. “Slumber Party Panic” (692-009)

Airdate: April 5, 2010

Production Information: Elizabeth Ito and Adam Muto (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Synopsis: Princess Bubblegum accidentally resurrects a violent mob of candy zombies, which leads to Finn doing the unthinkable: He breaks a royal promise to Bubblegum.

Commentary: It is always a delight to remind people that Adventure Time—a show that would go on to win a slew of prestigious awards and be lauded by critics as one of the smartest kids show that has ever been made—begins with Princess Bubblegum “add[ing] three more drops of explosive diarrhea” to a scientific mixture with which she hopes to bring the dead back to life. This elision of a macabre topic like the resurrection of the dead with a poop joke is in many ways emblematic of the sort of humor upon which Adventure Time was built, and while “Slumber Party Panic” might not be the season’s best episode, it does a solid job introducing the odd, madcap energy that would allow the show to flourish in its youth.

The plot to “Slumber Party Panic”—storyboarded by future series director Elizabeth Ito as well as eventual showrunner Adam Muto—was hammered out well before the show’s mythology was set in stone, and so some of the more hyperbolic plot points from this episode (e.g., the dramatic revelation that candy citizens explode when scared, or the fact that the Gumball Guardians are also the nigh-omnipotent Guardians of the Royal Promise, who can stop and reverse time itself) had to be ignored in later seasons. Nevertheless, the main characters’ personalities are all firmly established, allowing them to play off one another in a way that does not feel forced or misguided; Jeremy Shada and John DiMaggio, in particular, have excellent chemistry, breathing whimsical life into Finn and Jake right off the bat. All things considered, “Slumber Party Panic” is a fun entry and a solid preview of the silliness that was to come. (3.5 stars)

Season 1, Episode 2. “Trouble in Lumpy Space” (692-015)

Airdate: April 5, 2010

Commentary: “Trouble in Lumpy Space” is a Ito-Muto production that introduces us to Lumpy Space Princess, the loquacious and dramatic drama queen who was destined to become one of the show’s breakout stars. A sentient blob of “irradiated stardust,” Lumpy Space Princess is an alien valley girl parody voiced by none other than series creator Pendleton Ward himself, and this episode does a commendable job illustrating the character’s immaturity and her ridiculously inflated sense of self-importance. This makes for good entertainment in and of it itself, but what really bumps this episode up a peg is the vocal delivery of the cast. Adventure Time always excelled when it came to its voice acting, but in this episode it is obvious that in this episode Jeremy Shada, John DiMaggio, and Pendleton Ward had extra fun playing around with their ridiculous “lumpy space” accents.

Aesthetically, this episode is quite the sensory experience. Lumpy Space itself is a hauntingly beautiful alien dimension of dark magenta skies and purple, pillowy clouds; it is a right shame that the show very rarely made use of this unique environment, considering how pleasant it is to look at. The episode’s soundtrack is also deserving of recognition, with much of the background music—especially the vapid pop tune that plays while Finn, Jake, and Lumpy Space Princess hitch a ride in Melissa’s car—recalling the elastic hyperpop that electro-wizzes from PC Music produce. The tunes add an extra dimension to the whole experience, helping to sell the idea that Lumpy Space is a silly but alien otherworld. (3 stars)

Season 1, Episode 3. “Prisoners of Love” (692-005)

Airdate: April 12, 2010

Production Information: Adam Muto and Pendleton Ward (storyboard artists); Craig Lewis and Adam Muto (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Ladies and gentlemen, meet the Ice King! Beginning the series as a cartoonishly incompetent antagonist, Ice King would grow into one of the show’s most well-developed characters. While “Prisoners of Love,” being the character’s debut episode, sees the Ice King still in his one-dimensional “wicked wizard” stage, there are hints even at this early juncture—like the character’s dramatic insistence to pluck out a yogurt chip from his trail mix, or his spasmodic attempts to play the drums—that the Ice King is more than just a textbook baddie. Is he evil? Judging by his actions, it often looks that way, but there is also a deep sadness to him that makes even his worst behavior somewhat pitiful.

But as pathetic as he may be, Ice King’s lecherous habit of kidnapping princesses is completely unacceptable (Princesses, Adventure Time would like to remind us, should never be married against their will), and by episode’s end, Ice King receives his just desserts—a feminist-fueled kick to the face, courtesy of Finn the Human. The moral of the story is clear: Poor old Ice King might just be lonely, but that does not excuse him for acting like a frost-bitten incel. (3.5 stars)

Season 1, Episode 4. “Tree Trunks” (692-016)

Airdate: April 12, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Tree Trunks” introduces the audience to the eponymous character, voiced by Polly Lou Livingston, an eccentric octogenarian with a pronounced southern drawl whom Pendleton Ward knew growing up in Texas. Despite Tree Trunks appearing as a sweet old pachyderm, much of her dialog is riddled with double entendres and subtle sex jokes that go over the heads of children, and as such, she is something of a divisive character in the Adventure Time fandom: While some viewers find her hilarious, others find her decidedly off-putting. In this episode, however, storyboard artists Sean Jimenez and Bert Youn strike a decent balance between the character’s funny and creepy sides (case in point: The scene wherein Tree Trunks, in the gawdiest of makeup, tries to seduce an evil monster with her “womanly charms and elephant prowess”). The major exception to this overall balance is the episode’s decidedly morbid conclusion, which features Tree Trunks exploding after tasting the crystal apple. This was perhaps the show’s first non sequitur ending, and almost certainly left an indelible imprint on the minds of viewers young and old alike. (3 stars)

Season 1, Episode 5. “The Enchiridion!” (692-001)

Airdate: April 19, 2010

Production Information: Patrick McHale, Adam Muto, and Pendleton Ward (storyboard artists and story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: According to the annals of cartoon history, the initial storyboard for “The Enchiridion” was whipped up by Ward and his crew members to prove to Cartoon Network that Adventure Time could be developed into a full-fledged series. This was almost certainly a stressful task, which necessitated that Ward et al. dissect the pilot, determine what elements worked, and then infuse those elements into a new storyboard. As a result of this “open art transplant,” there are quite a few analogs between the pilot and “The Enchiridion!”—e.g., the wacky dancing, the dream sequences, the ridiculous language—but this episode does a solid job of emulating the style of the pilot without wholesale duplicating it.

In terms of plot, “The Enchiridion!” is a fairly predictable adventure story, but it is one with enough clever variations that prevent the whole affair from dragging or being too boring; standout scenes include Finn and Jake having to deal with granny-zapping gnomes, and the D&D-inspired reverie in which Finn is tempted to slay an “unaligned” ant. The episode is further buoyed by several fun guest stars (including Mark Hamill, Fred Tatasciore, and even Black Flag’s Henry Rollins) that sprinkle a little additional energy on top of the whole thing. Given the exuberant fun of the episode and the way it easily introduces us to supporting characters like Princess Bubblegum, it is intriguing why the producers did not choose “The Enchiridion!” as the series premiere. That question aside, “The Enchiridion!” is one of the season’s stronger episode and an excellent place to start if you want a crash course in what made early Adventure Time so unique. (4 stars)

Season 1, Episode 6. “The Jiggler” (692-011)

Airdate: April 19, 2010

Production Information: Luther McLaurin and Armen Mirzaian (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “The Jiggler” opens on a fun, hyperactive note, with Finn singing “Baby,” a catchy song coated in layer upon layer of sweet, crisp autotune. But soon after Finn and Jake discover and “adopt” the titular creature, the affair quickly devolves into a cartoonish snuff film of two dullards accidentally torturing a wild animal; the whole thing is made worse by the high volume of bodily fluids excreted by the Jiggler. Thankfully, Finn and Jake are able to return the Jiggler to its mother before it keels over, but this victory is undermined given that the whole situation was Finn and Jake’s fault to begin with. Perhaps it is best to view all of this as a cautionary tale: No matter how cute a wild animal may look, you probably should not take it home and make it dance for you. (2 stars)

Season 1, Episode 7. “Ricardio the Heart Guy” (692-007)

Airdate: April 26, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Tim McKeon, Adam Muto, and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Ricardio the Heart Guy” introduces the titular villain, the brainy-but-sleazy heart of the Ice King voiced to perfection by the sonorous George Takei. Given how arrogant the character acts even before his true intentions are revealed, it is not much of a shock that Ricardio is a rotten egg, and this lack of mystery drags the whole episode down to some degree. Nevertheless, Takei’s histronic performance injects into the episode a funny sort of melodrama, with is further reinforced by Casey James Basichis’s sparklingly dark score, which mixes in elements of opera alongside the usual chiptune blips and bloops to emphasize Ricardio’s pretentiousness. (3 stars)

Season 1, Episode 8. “Business Time” (692-014)

Airdate: April 26, 2010

Commentary: On the surface, “Business Time” is but a silly parody of corporate culture that sees Finn and Jake become the veritable CEOs of an adventuring firm. It is a silly little set up, and the show has good fun poking fun at business-speak and the deleterious effects of rampant corporatization. At the same time, by relegating Finn and Jake to the sidelines near the middle of the episode, “Business Time” does itself a disservice by focusing not on the wacky shenanigans of the business men, but rather on the mundanity of Finn and Jake’s “managerial life.” It all comes together in the end, when Finn and Jake are forced to jump into the fray and destroy the Business Men’s vacuum robot, but the noticeable lag there in the middle of everything throws the pacing of the episode off.

But while “Business Time” might not be the strongest first-season entry, it has gained respect in the fandom for being the first episode to underline that the Land of Ooo exists in the far future after some sort of nuclear holocaust. In an interview with USA Today, Ward explained that this was a natural development that he had never planned: “[When] we did [the] episode about businessmen rising up from an iceberg at the bottom of a lake … that made the world post-apocalyptic, and we just ran with it” (X). Considering how major the post-apocalyptic trappings would become to the show’s mythology, it is a bit startling to learn that it was added in on a whim. Regardless, it was an inspired choice that added a tinge of sadness to the story of Finn and Jake. They were not just frolicking in some fantasy world; they were frolicking in the ruins of our world, long after nuclear war had devasted the planet. Is it bleak? Absolutely! But this bleakness contrasts nicely with Adventure Time’s colorful surface, resulting in a deeply rich ambivalence. Not many shows—let alone children’s shows!—have managed to fuse such extremes into a workable whole. (3.5 stars)

Season 1, Episode 9. “My Two Favorite People” (692-004)

Airdate: May 3, 2010

Production Information: Kent Osborne and Pendleton Ward (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Almost all the first-season episodes that we have considered so far have placed a heavy emphasis on comedy. The point of these episodes is to make you laugh, and anything beyond that is gravy. “My Two Favorite People,” in contrast, may be the first that is grounded on a solidly emotional foundation, and while the episode is very funny, it is primarily interested in telling the poignant story of two brothers and a gal they both like. If anyone has ever found themselves caught up in a love triangle—whether real or, as in the case of this episode, imagined—Jake’s actions, although immature, will likely feel relatable. It is a cheesy cliché, but the story’s strength is that it all feels so real (which I recognize is a funny thing to say about a cartoon dog and his unicorn-rainbow beau).

“My Two Favorite People” is the first episode that really features Lady Rainicorn as a mover of the plot rather than just a fun side character, and it is a wonderful showcase for her. While a handful of later installments—namely season four’s “Lady & Peebles” and season eighth’s “Lady Raincorn of the Crystal Dimension”—would try to highlight Lady, “My Two Favorite People” is arguably the character’s funniest episodes, thanks in large part to her use of a universal translator, which allows the other characters to understand her. To some, a device such as this may seem like a cop-out, but storyboard artists Kent Osborne and Pendleton Ward cleverly preempt this criticism by making the device’s only useable setting one that gives Lady the voice of a great-great grandfather. Lady’s “old-man voice” is an episode highlight, and it makes many of the character’s lines (e.g., “Come on my darling! Wrap your legs around me!”) both hilarious and unsettling. (4 stars)

Season 1, Episode 10. “Memories of Boom Boom Mountain” (692-010)

Airdate: May 3, 2010

Commentary: During the production of season one Ward exerted considerable effort trying to shepherd the show’s crew in a coherent direction, all the while responding to critiques levelled by dozens of Cartoon Network executives. Many of these critiques were contradictory, and in the process of creating something that he was proud of while also appeasing everyone around him, Ward very nearly went bananas. The experience provided the bedrock for “Memories of Boom Boom Mountain,” and to anyone who has been given the arduous task of pleasing a whole slew of prickly critics, the episode will be immediately relatable.

In terms of the show’s budding mythology, “Memories of Boom Boom Mountain” is notable because it firmly establishes that Finn was adopted as a baby by Jake’s canine parents, Joshua and Margaret. This plot point was likely guided less by worldbuilding and more by humor (perhaps playing on the whole “raised by wolves” idiom). Nevertheless, this decision would have major ramifications for the show’s overarching narrative. Finn’s nature as the only human in Ooo was no longer a silly afterthought—it was now a mystery. Just who is Finn the Human, and where did he come from? These questions would linger for seasons, finally culminating in season eight’s touching miniseries Islands. (4 stars)

Season 1, Episode 11. “Wizard” (692-020)

Airdate: May 10, 2010

Production Information: Pete Browngardt, Adam Muto, and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Wizard”—co-storyboarded by Pete Browngardt, an artist who storyboarded on Chowder and The Marvelous Misadventures of Flapjack before creating the divisive Uncle Grandpa for Cartoon Network—is an absolute bonkers installment that throws logic out the window by giving Finn and Jake magical powers. It is a plot setup almost guaranteed to be fun, and you can tell that the writers likely a good time coming up with increasingly asinine magical powers (e.g., “endless mayonnaise”).

But underneath all the distraught dust motes and captivating new hairstyles, “Wizard” also has a degree of depth, reading like a biting commentary on higher education-industrial complex in the United States. It does not seem coincidental that the strategies employ by Bufo’s scam wizard school are strikingly similar to those used by predatory colleges, which offer students a worthless degree alongside thousands of dollars of debt. The parallels are made stronger when it is revealed that all those whom Bufo has tricked are reluctant to upset the oppressive status quo, because they believe “newfangled thinking will get [everyone] killed”; this eerily mirrors those who downplay the student loan crisis, arguing that “that’s just the system works.” Finn will have none of this, however, and by episode’s end, he—channeling his myriad wizard powers and the vigor of “youth culture”—proves that if a system is broke, it has got to go. Maybe we could learn a thing or two from that. (4 stars)

Season 1, Episode 12. “Evicted!” (692-003)

Airdate: May 17, 2010

Production Information: Sean Jimenez and Bert Youn (storyboard artists); Adam Muto (story writer); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Evicted!” is considered a classic by most Adventure Time fans for one simple reason: It introduces the audience to Marceline the Vampire Queen. This iconic undead rocker chick managed to steal the spotlight whenever she appeared in an episode, and eventually she became one of the show’s more well-regarded characters. Given all this, there is some irony to the fact that in her debut, Marceline is the antagonist who steals our heroic duo’s beloved Tree Fort. Marceline is therefore similar to other season one baddies in that she tests Finn and Jake’s patience before engaging them in direct combat. But Marceline is set apart from other foes in how Finn and Jake defeat her—namely, that they do not. In fact, she pounds them into the ground almost effortlessly! Besting Finn and Jake is no easy task, meaning that while “Evicted!” might showcase Marceline’s nastier side, it nevertheless does an excellent job emphasizing how much of a badass she is; this goes a long way in explaining the character’s huge popularity.

But Marceline alone cannot an episode make. Luckily, “Evicted!” is further bolstered by several excellent design choices, including a bevy of fun background critters whipped up by character designer Tom Herpich, a slew of colorful background designs courtesy of Ghostshrimp and Santino Lascano, and a killer soundtrack. Regarding the latter, the stand-out tune is inarguably “House Hunting Song,” a comically overblown ballad detailing Finn and Jake’s arduous quest to find a new place to live. The song, sung mostly by Ward with a few lines delivered by Olson, is an emotion-laden earworm guaranteed to wiggle its way into your brain. (I mean, how can you not love a song that blames the murderous tendencies of vampires on simply being “burnt out on dealing with mortals”?) It very much is the blood-red cherry on top of everything, which helps to make “Evicted!” one of the season’s strongest episodes. (5 stars)

Season 1, Episode 13. “City of Thieves” (692-012)

Airdate: May 24, 2010

Commentary: “City of Thieves” is a workable if somewhat forgettable mid-season entry. The episode’s main strength is its titular setting, a bizarro municipality where theft is the law of the land. Unfortunately, the city is nothing more than a silly plot device, and the episode itself never really rises above “fine.” (2.5 stars)

Season 1, Episode 14. “The Witch’s Garden” (692-022)

Airdate: June 7, 2010

Production Information: Adam Muto, Kent Osborne, and Niki Yang (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: If you think the idea of Jake sassing Ooo’s cattiest witch is funny in and of itself, wait until you see this episode’s visuals. From Jake’s grotesque but silly “manbaby body” to the abject horror of Gary the Mermaid Queen, “The Witch’s Garden” is replete with several memorable character designs that make it a satisfying entry. (3 stars)

Season 1, Episode 15. “What Is Life?” (692-017)

Airdate: June 14, 2010

Commentary: Giving Finn and Ice King a son is not a move that I thought Adventure Time would ever make, let alone in the first season, but here we are. The bouncing baby boy in question is actually a clunky robot named NEPTR, voiced to sadsack perfection by comedian and musician Andy Milonakis. If you had told me prior to this episode that Milonakis could give a sentient microwave a sense of pathos, I would have never believed you, but in “What Is Life?” he does a commendable job conveying NEPTR’s pitiful nature. As for the episode itself, “What Is Life?” is a solid entry that introduces viewers to several recurring characters (one of whom being Gunter the penguin) while offering us a peek into the Ice King’s sad, lonely mind. (3 stars)

Season 1, Episode 16. “Ocean of Fear” (692-025)

Airdate: June 21, 2010

Production Information: J. G. Quintel and Cole Sanchez (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Oceans of Fear”—storyboarded by Cole Sanchez and J. G. Quintel, the latter of whom would go on to create Regular Show for Cartoon Network—is in an interesting installment that establishes Finn’s fear of the ocean, reminding the viewer that even great heroes will be forced to deal with irrational phobias at some point in their life. The character designs in this episode are quite amusing (with the standout being Finn’s grotesque “fear of the Ocean” face), and Mark Hamill, as always, does a wonderful job, using his trademark “Joker voice” to give the Fear Feaster a delightful air of villainy. But as with “Business Time,” many of these elements are upstaged by the episodes’ post-apocalyptic trappings. In fact, when I watched the episode for the first time, I paused it in several places, asking to myself, “Is that a wrecked battleship? Is that a bombed-out tank? Why are there ruins of a city underwater?” It is an understatement to say that this episode is positively littered with rusted debris and centuries-old detritus that testifies to Ooo’s traumatic history. For eagle-eyed fans hoping to piece together Adventure Time’s mysterious mythology, this episode is an absolute hoot. (3.5 stars)

Season 1, Episode 17. “When Wedding Bells Thaw” (692-013)

Airdate: June 28, 2010

Production Information: Kent Osborne and Niki Yang (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: One of the first episodes to team Ice King up with Finn and Jake, “When Wedding Bells Thaw” is a goofy lampooning of bachelor parties and the institution of marriage in general. Although the episode ends on a fairly predictive note (spoiler alert: Ice King tricked his fiancée into marriage), seeing Ice King get along with our heroes is charming, and in many ways it presages the Ice King’s future character growth. The episode’s strongest part is the short dialogue-free montage near the middle depicting Finn, Jake, and Ice King getting into all sorts of “manlorette party” shenanigans; this sequence is made all the stronger by Tim Kiefer’s chiptune score, which enlivens the party with a burst of synthesizers and electro-drums. (3 stars)

Season 1, Episode 18. “Dungeon” (692-013)

Airdate: June 28, 2010

Commentary: If there is one episode that feels like the entirety of Adventure Time’s first season distilled down into 11 minutes, then it would be “Dungeon.” An episode replete with outrageous monsters and wacky action, “Dungeon” is a high-energy installment that pays homage to the sprawling world of table-top gaming; indeed, it is not hard to imagine storyboard artists Elizabeth Ito and Adam Muto reaching for a D20 or a well-worn copy of the Monster Manual whenever it came time to block out a new scene. Stand-out moments from this episode include Finn’s encounter with the Demon Cat (famous for having “approximate knowledge of many things”), his visitation by a “guardian angel,” and the deus ex machina ending that see Princess Bubblegum swoop in to save the day. (“Get on my swan!”) And amidst all the silliness, “Dungeon” even manages to sneak in a sweet little message tucked snuggly in between all the wacky monsters about the importance of recognizing your weaknesses. (4.5 stars)

Season 1, Episode 19. “The Duke” (692-023)

Airdate: July 12, 2010

Commentary: For most of season one, the audience is presented a version of Princess Bubblegum that is bright, effervescent, and totally nonthreatening; the monarch, it seems, is as aggressive as a marshmallow. But in “The Duke,” this all changes, and we finally get to see the princess’s darker, authoritarian side. Unhinged Princess Bubblegum is quite a sight to behold (as is the sight of green-and-bald Bubblegum), but it adds another layer of to the saccharine sovereign, setting her up for substantial character development a few seasons down the road. (3 stars)

Season 1, Episode 20. “Freak City” (692-008)

Airdate: July 26, 2010

Production Information: Tom Herpich and Pendleton Ward (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Freak City” introduces the audience to Magic Man, a deranged and flamboyant Martian wizard known for meaninglessly harassing the citizens of Ooo. Although the character’s backstory would be fleshed out in later seasons and eventually come to play a major part in the mythology of the series, this episode was storyboarded well before these developments were dreamed up, meaning that here, Magic Man functions as a simple (albeit funny) villain-of-the-week whose nihilistic tendencies clash wonderfully with Finn’s optimistic worldview. Finn is so used to dividing the world up into “good guys” and “evil guys,” but his run-in with Magic Man is proof that morality is far more confusing than he would like to believe. The main problem is that Magic Man is not really evil: He is clinically insane—a violent psychopath—who does not care about his actions impacting others. No climactic fight or eleventh-hour pep talk is enough to fix him.

On top of this rather weighty consideration of morality and mental instability, “Freak City” contains another, more straightforward message about the power of teamwork and how people should work as one to overcome common problems. Storyboard artists Pendleton Ward and Tom Herpich have quite a bit of fun taking the idiom literally by forcing Finn and the other denizens of Freak City pile on top of one another to function as a single, grotesque being that is capable of fighting Magic Man. While “Freak City” loses some points for espousing rhetoric that folks who are depressed can simply will themselves out of their funk, it makes up for these deficits elsewhere with its character designs—ranging from the inside-out bird to the two-headed monster that Finn groin-strikes—which are all bizarre in the best, most creative way possible. (3.5 stars)

Season 1, Episode 21. “Donny” (692-018)

Airdate: August 9, 2010

Commentary: A rather forgettable protagonist and only a smattering of memorable lines make “Donny” the season’s weakest link. The episode does get points for introducing us to “whywolves” (“Creatures possessed by the spirit of inquiry—and bloodlust!”), but they are not enough to completely save it from mediocrity. (2 stars)

Season 1, Episode 22. “Henchman” (692-021)

Airdate: August 23, 2010

Production Information: Luther McLaurin and Cole Sanchez (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: While “Evicted!” depicted Marceline as an apathetic asshole, “Henchman” starts to soften the vampire queen by showing that her evil exterior is an elaborate facade, and that deep down she is really just a prank-loving trickster—or, as Finn puts it, “a radical dame who likes to play games.” This might seem nothing more than a subtle tweak, but it does wonders for Marceline’s characterization; by episode’s end, as Finn and his vampiric “master” chat quite cheerfully in a field of strawberries, it is clear that the writers are setting up Marceline to become a legitimate pal to Finn and Jake, rather than just an avatar of chaos who drops in every once in awhile to shake things up. This was a wise decision, as it provided Marceline with the chance to grow into a hero in her own right with whom the audience can happily cheer along.

Since “Henchman” is predicated on Marceline pranking Finn, storyboard artists Luther McLaurin and Cole Sanchez have a great deal of fun mocking up outrageous scenarios that seem evil at first glance, but are revealed to be quite benign. Perhaps the funniest of these situations is Marceline raising an army of undead skeletons only to throw them a concert, and the vampire queen’s demand that Finn kill a little dimple-plant, which looks like a cutie before it turns into an Audrey II-esque abomination from John Carpenter’s darkest nightmares. (4 stars)

Season 1, Episode 23. “Rainy Day Daydream” (692-002)

Airdate: September 6, 2010

Production Information: Pendleton Ward (storyboard artist); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: “Rainy Day Daydream” is a beautiful representation of creativity in its purest form. Channeling his love of multilevel video games and Dungeons and Dragons, solo storyboard artist and series creator Pendleton Ward uses the pretext of Jake’s imagination affecting reality as an opportunity to bounce from one ridiculous plot point to another to great effect. The whole thing feels like an exercise in jovial spontaneity, and while “writing the story as you go” can sometime result in disjointed or sloppy final products, here Ward makes it work, using the approach to illustrate the almost limitless potential of imagination. Another strength of the episode is the way it throws dozens of ridiculous obstacles at Finn and Jake without the aid of equally ridiculous visuals; in fact, almost every hindrance in the episode is invisible to both Finn and the audience, and we only learn what is going on thanks to Jake’s narration. The fact that this approach works and is not boring is a testament to Ward’s skills as a storyteller and dialogue writer. (4.5 stars)

Season 1, Episode 24. “What Have You Done?” (692-027)

Airdate: September 13, 2010

Commentary: In addition to providing us with another glimpse of Bubblegum’s dark side, “What Have You Done?” also serves as an interesting meditation on morality and preemptive punishment. As earlier episodes have confirmed, the Ice King is a creepy little deviant, but is it right for Finn and Jake to imprison him without a cause? This is a real legal question, and the show handles it in a surprisingly sophisticated way, concluding more or less that the writ of habeas corpus must be preserved. Of course, this is all undermined to some degree when we learn that the Ice King actually is to blame, but thanks to some quick thinking on the part of Finn, our heroes are able to save the day without having to turn to the carceral powers of the state. (And people say Adventure Time is not sophisticated...) (3 stars)

Season 1, Episode 25. “His Hero” (692-026)

Airdate: September 20, 2010

Commentary: Who is the greatest hero ever? If you answered, “Finn!” it is obvious that you have yet to see “His Hero,” for the correct answer is Billy, of course! Lou Ferrigno guest stars in this episode as the aforementioned defender of Ooo, enlivening the character with his distinctive voice. As for the episode itself, storyboard artists Kent Osborne and Niki Yang—with an assist from the ever-dependable Adam Muto—produce some of their best work this season, filling each scene with witty dialogue and zany shenanigans. Arguably, the episode’s pièce de resistance is the short montage of Billy’s past achievements, which plays alongside a song, sung by Muto, extolling the hero��s greatness; energetic and wacky, the song in many ways typifies the “chaotic heroism” that defined the show’s first season.

Like many other first-season episodes, “His Hero” ends with a counterintuitive “anti-moral,” stressing that while a commitment to non-violence might seem subversive on the surface, it is actually an ineffective way to make the world a better place; instead, the episode argues that direct physical action—i.e., beating the snot out of monsters and bad guys—is necessary if heroes want to save people from oppression. This may all come across as contrarian silliness, but I would argue that it is profoundly radical, rejecting “common sense” ideals about peace that really only help those in positions of power. (Side note, if the kids who grew up watching Adventure Time turn into a bunch of revolutionaries, I think we will know the cause.) (4 stars)

Season 1, Episode 26. “Gut Grinder” (692-024)

Airdate: September 27, 2010

Production Information: Ako Castuera and Bert Youn (storyboard artists); Tim McKeon and Merriwether Williams (story writers); Larry Leichliter (director), Patrick McHale (creative director), Nick Jennings (art director)

Commentary: Much like “Ricardio the Heart Guy,” this episode suffers due to a lack of a solid mystery; from the start, it seems obvious that Jake is not the one responsible for the robberies. Furthermore, the reveal that Sharon is the one behind the robberies comes with almost no dramatical weight, since we have no idea who she is. The whole thing is forgettable, which is a shame given that this is the season finale. (2 stars)

(Huge shout out to @sometipsygnostalgic for reading over these a few months ago and offering feedback. Also, I want to thank @j4gm for posting his “Slumber Party Panic” review, which made me remember these write-ups!)

#adventure time #atimers #season 1 #season one #reviews #finn #jake #finn the human #jake the dog #marceline #pb #bubblegum #princess bubblegum #marceline the vampire queen #ice king #pen ward #pendleton ward

26 notes · View notes

the8gates · 4 years

Text

Naruto Characters and What Music I Think They Would Listen To Pt.1

Naruto

-You know those popular boys from school? The emoji tracksuit kids that like dunked on you when you walked through a door?

-Those vibes

-He listens to almost exclusively mainstream rap. It has to be 🔥🔥🔥 ya know?

-Always talking about the new Drake album or the new Kanye album. LOVES Chance the Rapper and Childish Gambino i just see it in his eyes.

Sasuke

-This fuckin guy

-See, my knee jerk reaction is like your emo classics. Pierce the Veil, MCR, Linkin Park. Screamo. Metal.

-But no. We have similar temperaments and I think that kind of music would actually irritate him.

-I think he’s emo but more mainstream soundcloud rapper emo. Lil Peep, $UICIDEBOY$, Lil Uzi Vert. LOVES XXXTentacion.

-Post screenshots of what he’s listening to on his snapchat story and you just know the boy is going THROUGH it.

Sakura

-OKAY so HERE is your rock and roll/metal baddie!!!

-hear me out. when she’s young its all pop. like y2k pop with R&B leanings. Britney Spears, Christina Aguilera, Beyonce, etc. you get the idea

-but after training under Tsundae she picks up rock. starts with some classic rock at first, then slowly progresses.

-this girl loves Metallica and Black Sabbath. she just loves rock. Zeppelin, AC/DC, Five Finger Death Punch. All of it. I will not be taking any criticism.

-windows down in the car, headbanging always.

Kakashi

-this one is a little difficult to nail down

-a part of me just wants to throw him in the pool of doesn't really care and will listen to anything

-i think he’s got a different playlist for every mood

-R&B sexy playlist with the Weeknd and some Justin Timberlake (yes he thinks that's sexy), soft sad boy hours playlist with Post Malone and Russ, a party mix with some your standard frat boy bops.

-overall, he listens to a lot of popular music

Yamato/Tenzou

-another tough one to nail down!!!

-i truly think Yamato is a man of all tastes as well

-however.... i get country music vibes???

-not like new, pop, country. but the classics. Johnny Cash, Willie Nelson, Dolly Parton.

-he also likes jazz! and big band/swing. Frank Sinatra, Dean Martin. What i would refer to as whiskey drinkin music. kinda classy and fun

Sai

-girl

-i truly do not know

-the man is an enigma

-i think once he joins team 7 and kinda strays away from the foundation he’s gonna be all about trying new stuff

-so one day he’s listening to Taylor Swift and Ed Sheeran and Ariana Grande. Radio pop, entry level shit

-and the next time you see him its songs he heard on tiktok exclusively

-eventually he’s down a rabbit hole, consuming music in mass quantities and he’s into Crystal Castles and Grimes. Then next week its Tupac and Notorious B.I.G. Then it’s Judas Priest and Guns N Rose.

-everyone just gives up trying to keep track

Shikamaru

-oh its male manipulator music ALLLL DAY

-tame impala, mac demarco, the front bottoms, arctic monkeys, modern baseball, the smiths

-you get the idea

-dont necessarily think he's the ‘male manipulator’ type but he’s def the edgy smoking cigs and listening for the lyrics type

-i don't have to go into detail here you know I'm right

Ino

-see, her and Sakura go down similar paths

-she started off with the y2k bubblegum pop phase but her progression is a little more understandable

-shes your typical indie (except they aren't really indie) pop darling. Lana Del Rey, Lorde, Marina and Diamonds, Melanie Martinez, the 1975.

-what I'm saying is she was definitely on tumblr in 2014 and just never moved past that phase (did any of us tbh)

-as time goes on though she starts to branch out a lil. loves the mainstream women of rap! Cardi B, Megan thee Stallion, Nicki Minaj, Doja Cat. constantly bopping

Choji

-i couldn't find any gifs of this cutie smiling and that's a crime i want addressed RIGHT NOW

-but music wise?? i mean he’s a sweetheart right?? genuinely likes pop music! Ed Sheeran, Maroon 5, Katy Perry. HUGE Bruno Mars fan surprisingly

-i can see him just bopping his head along to the radio, just vibing and not being picky. loves a good ballad. Sam Smith, John Legend.

-hes just having a good time

Hinata

-queen of yearning and pining

-girl in red, mitski, HOZIER

-i feel like her playlist just looks like someone let a closeted queer girl put it together

-ABBA, St. Vincent, Florence + the Machine

-also just soft pop vibes. she’s defo posting sunset videos with the Lumineer’s playing in the background. HEAVY cottage core inspo

Shino

-here is your true emo king

-the trinity of course. P!ATD, MCR, Fallout Boy

-then Twenty One Pilots, Paramore, GORRILAZ

-he gives me also like art kid vibes as he gets older? Weezer, Wallows, Cage the Elephant. you know the type

Kiba

-kinda smilar to Naruto tbh

-but it HAS to be FIRE. no sad music! bass turned up and LOUD always

-i feel like he even went through a dubstep phase.

-hes the guy in the mcdonalds drive thru ‘you know what I'm here for’ *blasts Sicko Mode*

-some stand out faves are Travis Scott, Tyler, the Creator, Kendrick Lamar, Freddie Dredd

-he’s actually pretty cool tbh

Rock Lee

-yall ever been to a football game and they play the same hype songs over and over? ever seen a workout montage in an 80s movie?

-thats this boy. he’s just constantly listening to workout playlists. Eye of the Tiger, Livin’ on a Prayer, Welcome to the Jungle

-outside of that, i would think some of his favorite artists would be things Gai would listen to. Billy Joel, Bon Jovi, the BEASTIE BOYS, Foreigner, Aerosmith

-what I'm trying to say is he listens to the same music ur dad listens to

Neji

-fucking music SNOB

-’you've probably never heard of them’ headass

-and then its like the strokes or vampire weekend or some shit jfc

-male manipulator music part two but 100% fits the stereotype. hes gonna leave you on read and then cry to the Yeah Yeah Yeahs.

-some standout favorites are the Pixies, Neutral Milk Hotel, alt-J.

-likes some other stuff too. The White Stripes, The Black Keys, some Beck.

-decent taste if he wasn't such an a-hole about it!

Tenten

-ya know what

-hyper pop. 100 gecs, Charli XCX, CMten, SOPHIE, Slayyyter, A.G. Cook.

-i would say she started off kinda like Ino, the 2014 tumblr pop stuff

-then that just got to be too boring. so now she's riding the wave of the super new age stuff.

-neji fucking HATES it and grumbles all the time about ‘its just noise, how can you stand that’ and it only makes her like it more.

194 notes · View notes

cureforbedbugs · 2 years

Text

MIX 3: It's All About the Dum-dum-dudda-dum-dum

Vengaboys - We Like to Party! (The Vengabus)

S.O.A.P. - This Is How We Party

Blackstreet, Mya, Mase, & Blinky Blink - Take Me There [from the "Rugrats Movie" soundtrack]

B*Witched - C'est La Vie

Steps - 5,6,7,8

Solid Harmonie - I'll Be There for You

Five - When the Lights Go Out

Jessica - Tell Me What You Like

Dromhus - Vill ha dig

Billie - Because We Want To

Cleopatra - Cleopatra's Theme

2 Eivissa - Oh La La La

E-Type - Here I Go Again

Daze - Together Forever (The Cyber Pet Song)

Hit 'n' Hide - Space Invaders

Solid Base - Come'n Get Me

Meja f. Hector - All 'Bout the Money

La Cream - Say Goodbye

Sweetbox - Everything's Gonna Be Alright

INOJ - Time After Time

4 the Cause - Stand by Me

Sham Rock - Tell Me Ma

One thing that giving myself over to the New Music playlists does each year is help me suss out regional trends with my ears. This isn’t as effective as actually looking up what’s happening from people who know better, but the problem with that method is I never know where to start and I get bored almost immediately. The cumulative impact of letting my ears lead me to various countries and scenes has clued me in to Thai rap and amapiano and (2020s) baile funk before I’d even know how to look for them. Eventually I found the folks writing about them but only because I was motivated to find them after getting a feel for some of the terrain.

In 1998 there was a lot of heat coming from Sweden, something I didn’t exactly need my intuition and thousands of random songs to tell me. One of my first stops, before I realized this method was unsustainable, was to try to figure out what was going on on the Swedish charts and pull in everything that went at least top 20 according to Sverigetopplistan. But in the end I found more stuff, including things that charted in Sweden, just by listening to a bunch of albums I thought might be interesting.

Denniz Pop and Max Martin had already made a few rough drafts of what would become Britney Spears before 1998. They got the contours of the formula—rigid boom-bap with a smidgen of reggae syncopation—worked out musically with Ace of Base in 1994 (Tom Breihan just referred to it as a “bulletproof computer-pop”) and had a dry run with Robyn in 1995. The Britney album was technically ready to go in 1998, but its Year of Impact is definitively 1999. I think Metal Mike Saunders was the only rock critic writing about her in ‘98, and his first exposure was September of that year; the “Baby One More Time” single was released in November. This mix has Britney’s understudy, Jessica, who got one single out with the dream team before getting stuck on the bum side of a Sliding Doors situation. (She reminds me of Lucy Woodward, the artist who unknowingly built Ashlee Simpson’s sound with John Shanks a year before they recorded Ashlee’s album.)

Sweden in 1998, like Brazil in 2021 and South Africa in 2020, was in ferment, with stuff not even made in Sweden nonetheless showing up on the Swedish charts a year or two before it reached the US (Aaron Carter was on Swedish radio about two years before he hit big on Radio Disney). And it wasn’t just Sweden proper—Scandinavia launched not only Aqua (Denmark and Norway) but the whole bubblegum duo format, gruff man and chirpy woman, of which I heard no fewer than eight derivatives, all from surrounding Scandinavian countries. Two are represented here, Solid Base and Hit ‘n’ Hide, from Sweden and Norway and Denmark, oh my.

The UK and Ireland had legitimate contenders for the teen pop zeitgeist with Five and B*Witched and Solid Harmonie and Cleopatra and Billie and especially Steps, and a few non-contenders for the zeitgeist I got a kick out of nonetheless (where the hell did Sham Rock come from?). But if you want your late-bandwagon Tamagotchi athems (“Together Forever”) or your ESL bubblegum bangers (“This Is How We Party”) or shameless Eurodance that somehow never made it to Eurovision (the whole damn E-Type album), you need to go forth north. The US has a paltry single representation here, an accidental contribution to the zeitgeist by Blackstreet and Mya, commissioned for the Rugrats movie.

The strangest song, though, is European but not Scandinavian: Sweetbox’s “Everything’s Gonna Be Alright” builds its hook on Bach’s “Air on the G-String” and, whether intentionally or because the songwriters are German, seems to tell the story of someone visiting a loved one in a coma and playing the song for him on a boombox even though he won’t be able to hear it. Reader, I swear to you I cried in my car listening to this fucking song. It’s been a tough couple years.

#98mixes #Spotify

5 notes · View notes

girlsbtrs · 3 years

Text

How Countercultures turn Politics into Culture

Written by Lila Danielsen Wong. Graphic by Paula Nicole

In 1969, an academic named Theodore Roszak published “The Making of a Counterculture” and coined the term “counterculture” in order to describe the ant-mainstream youth movements of the 60s. Counterculture’s are not inherently good or progressive, both the punks and the skinheads are countercultures. Counterculture just means, according to the Merriam-Webster dictionary, a culture with values and mores that run counter to those of established society.

I’m not here to critique these movements. I am not writing this to critique how the Bohemian Romantics won respect for the arts because they mostly came from upper class backgrounds, and I’m not here to discuss the lack of intersectionality in the riot grrl movement. After starting this article I realized I had pitched a whole academic thesis, and maybe bit off a little more than I had intended to chew (why can’t I just pitch a listicle?). So, instead of focusing on the nitty gritty of what prompted these social movements and academically exploring their effects, I want to talk about the “culture” part of counterculture.

Nearly all countercultures are birthed around shared political ideas, but many seem to start within the culture itself, perhaps as a musical movement, a literary movement, a visual art movement, or even a fashion or aesthetic. As the movements expand, they come to encompass more of those aforementioned arts, and thus the politics that prompted the original movement become a culture.

An early example of a western subculture is the Bohemian Romantics of Europe of the 19th century. In pre-revolutionary France, artists were lower class tradesmen. Artists were seen as dirty and immoral. However, in post-revolutionary France, disillusionment prompted young bourgeois men to reject the typical hierarchy and launch the bohemian artist lifestyle we are more familiar with today. A critical event on this timeline was Victor Hugo’s “Romantic Army,” or his mob of young men that he assembled to protest theatre censorship by absolutely trashing a theatre. The Bohemian lifestyle often manifested as wealthy young artists electing poverty to reject the traditions they were born into, and to spend their time creating art unrestricted. Bohemian fashion was more utilitarian and rustic than the upper-class styles. The music of the Romantic era is categorized by its vigor and passion, pioneered by Beethoven himself. Beethoven challenged the strict and sometimes formulaic sonatas and symphonies of the past, favoring expression and inventiveness. Thus, prompted by the rejection of bourgeois values and principles, a culture was created: a lifestyle, an aesthetic, a literary movement, a new musical style.

Nearly 150 years later and 5000 miles away from Bohemian France, the riot grrl movement was brewing in the Northwest United states. The riot grrl movement, created by a group of women working to combat sexism in the western Washington punk scene, was a counterculture within a counterculture. While the Romantic movement originated in literature, the punk movement, and then the riot grrl movement, was born as a musical movement.

In 1970s Britain, the government was nearly bankrupt and giant cuts to social services were making life hard and creating a sense of alienation between the ruling class and the working class. British Punk emerged from this alienation. The youth used music to communicate their frustrations and anger. The rips and safety pins of punk fashion weren’t originally fashion, the punks just owned ragged clothing. The disillusionment with the political landscape and frustration with older generations resonated with youth all over the world, and it’s not hard to see why a Post-Vietnam and Watergate America would embrace the Punk movement with open arms. However, where British Punk was rooted in working class frustrations, American Punk took root with the middle-class suburban crowd, who, similar to the Bohemians, choose to reject the comfortable life they were born into. A notable difference that this created in the music was British punk had more pointed and explicit politically leftist lyrics, whereas this was not the focus of American punk lyrics.

This is especially important to understand when talking about the riot grrl movement because they put the politics in American Punk lyrics. In the early 1990s, a group of women from the Olympia, Washington punk scene had a meeting to address the sexism they faced in Punk. They started writing lyrics centered around the sexism and misogyny they face in Punk and in life. They created their own literature through zines when they could not get coverage. They wore clothing specifically intended to look like what respectable women weren’t supposed to wear. Again, we watch a group of people turn their politics into a culture, as a way to spread and practice their ideologies.

If you want a modern example of turning politics into culture via a counterculture, look no further than cottagecore (yes, really).

As I said at the beginning, countercultures don’t need to be radically progresive to be countercultures. Cottagecore dwells on romanticized pastoral ideals of a fantastic yesteryear that never really existed. Cottagecore gained some traction on TikTok as an “aesthetic,” made up of imagery such as women in long button up dresses flouncing through fields and making picnics. Absent were the rise and grind aspirations of pre-pandemic America. Absent were any signs of the labor often associated with pastoral living. It is no surprise that a counterculture that emphasizes solitary retreat, rest, nature, and crafting blew up during the first year of the covid-19 pandemic during which many experienced forced solitary retreats, a change in work environments (not to mention the want to not work), and boredom that could only be remedied with solitary activities such as crafting and enjoying nature. The pandemic dismantled all of the systems of normal life as we knew it, and cottagecore invited us to grow from this space, perhaps embracing a simpler, slower life. This political message was so subtly delivered through our social media scrolling that if you weren’t paying attention, you might not have even realized cottagecore had political ideals at all.

The rise of cottagecore is important in the conversation of how countercultures turn politics into culture because it showcases very blatantly how countercultures are not created, or at least do not catch on, without need and reason. Taylor Swift most likely did not create her surprise albums Folklore and Evermore (the unofficial cottagecore soundtrack) solely to cater to the cottagecore TikTok crowd, she created these albums as a form of personal escapism from how her own life was turned upside down by the pandemic, as a form of connection with her fans who were also experiencing the effects of the pandemic on their lives, and as art that represented certain feelings that came along with the pandemic.

Her albums came about for the same reason that cottagecore really caught on in the first place: it was what some people felt that they needed due to the circumstances of the time. It was for this reason, I would argue, that Folklore won album of the year. It was indicative of the times.

So, countercultures are born from a need. From this need comes politics, be it post revolution anti-bourgeois sentiments, mid-century British leftism, or a quiet call to slow down and reject hustle culture for a simple life. From politics comes art, and from art, culture.

Let’s talk about this in terms of an up-and-coming counterculture, hyperpop.

Though Wikipedia currently defines hyperpop as a “micro genre,” hyperpop’s rise is looking anything but “micro.” Hyperpop is described in The Spectator as “catchy synthpop or bubblegum bass tune with elements of EDM and typically a focus on either queer culture or Internet futurism”. The term “self-referential lyrics” is often thrown around. In the least complicated words possible, hyperpop uses it’s sounds and lyrics to make a camped-up parody of popular music. Hyperpop pioneers that have some mainstream following include SOPHIE, Charli xcx, and Caroline Polechek. Hyperpop often uses carbonated synth sounds and vocal modulation, and many of the trailblazers are part of the LGBT community.

What will hyper pop fashion and literature look like? What are hyper pop’s politics?

As for politics, there is something inherently political about queer artists carving out a space for themselves in pop music. Orange Magazine describes this as “pushing pop music to its limits and satirizing the gendered music industry. There’s an enjoyable sense of irony and juxtaposition.”

As for fashion, if we’re following the patterns we’ve established, hyperpop might bring gender non-conforming fashion that satirizes what’s been proclaimed normal. In terms of literature perhaps a Hyperpop literary movement will come from the controversial direction of Alt Lit, a community of minimalist writers that use the internet form and often reject intellectualized creative writing, create things that are weird for the sake of being weird, and use all caps and other purposeful spelling and grammar mistakes. A hyperpop literary movement might share the “self-referential” themes of hyperpop movement, while examining gender, sexuality, and personal identity in the internet age, seeing as the need to examine these themes in music indicates a need to examine these themes in other art forms. Maybe it will find creative ways to use internet platforms, as Alt Lit originators such as Steve Roggenbuck, a YouTube poet (well, a poet depending on who you ask), already have.

What I find most exciting about hyperpop is that it has the potential to create a culture guided by music first, similar to the punks or to disco. Fashion and visual art and literature all inspired by the glittery new sounds created in music. Maybe hyperpop will stay a “microgenre,” but maybe we will get to witness the rise of something new.

SOPHIE once said “I think all pop music should be about who can make the loudest, brightest thing. That, to me, is an interesting challenge, musically and artistically… just as valid as who can be the most raw emotionally,” and isn’t that a phenomenal thing to bring with us into a pent-up, fed-up, thoroughly exhausted, and newly vaccinated decade?

Sources

https://monoskop.org/images/b/b4/Roszak_Theodore_The_Making_of_a_Counter_Culture.pdf

https://www.sfgate.com/books/article/When-the-counterculture-counted-2835958.php

https://www.classicfm.com/discover-music/periods-genres/romantic/

https://www.mtholyoke.edu/courses/rschwart/hist255/bohem/tlaboheme.html

https://en.wikipedia.org/wiki/Punk_subculture

https://en.wikipedia.org/wiki/Riot_grrrl

https://en.wikipedia.org/wiki/Theodore_Roszak_(scholar)

https://en.wikipedia.org/wiki/Bohemianism

https://www.nme.com/blogs/nme-blogs/brief-history-riot-grrrl-space-reclaiming-90s-punk-movement-2542166

https://www.nytimes.com/interactive/2019/05/03/arts/music/riot-grrrl-playlist.html

https://www.nypl.org/blog/2013/06/19/riot-grrrl-movement

https://wildezine.com/3528/opinion/a-brief-history-of-punk/

file:///C:/Users/8lila/Downloads/history_initiates_vol_iv_april_2016_01_brooks_alison.pdf

https://www.theatlantic.com/magazine/archive/2021/03/hyperpop/617795/

https://www.billboard.com/articles/columns/pop/9595799/hyperpop-history-mainstream-crossover/

https://www.stuyspec.com/ae/hyperpop-the-defining-genre-of-the-digital-age

https://en.wikipedia.org/wiki/Hyperpop

https://www.youtube.com/watch?v=0YRl4Kdnl2E&list=LL&index=4

https://theface.com/music/sophie-behind-the-boards-pop-scottish-producer

https://orangemag.co/orangeblog/2020/10/15/exploring-the-trans-roots-of-hyperpop

https://thebluenib.com/the-rise-and-fall-of-alt-lit-by-ada-wofford/

https://www.rollingstone.com/music/music-news/pc-music-are-for-real-a-g-cook-and-sophie-talk-twisted-pop-58119/

#lila danielsen wong

6 notes · View notes

farfromsugafanfic · 4 years

Text

This Christmas

Genre: Producer!Yoongi, Fluff, Angst, slight enemies to lovers, Christmas-y

Pairing: Yoongi/Reader

Warnings: Portrayal of an abusive relationship (not involving Yoongi)

Synopsis: Yoongi doesn’t wanna work with a bubble gum idol like you. Especially not after your scandal where your and your manager’s relationship was revealed. And definitely not for a Christmas song.

✦✧✦✧

"You want me to what?" Yoongi asked. If this were a cartoon, his eyes would be bugging out of his head. The CEO of the company cleared his throat and looked at Yoongi over his glasses. It was obvious that despite being a high-level CEO of a successful music company, he was nervous to pitch this to his most successful producer.

"Listen, Yoongi, I know you're not happy about this. But, Y/N's comeback is crucial for her career. You know the scandal she had last year and this is her first comeback since then. We need this song to be everywhere. This why we need you to produce it."

"Okay, but like, a Christmas song? I know Y/N had a pretty pure image, but isn't that a bit much? Even for her?"

"Her scandal broke on Christmas Day last year. We thought having her do a Christmas song would help address that she moved on and wants to focus on her career."

Yoongi remembers your scandal a year ago. You'd been dating your manager. It was said you used his fondness of you to move up in the company. It was why you were a soloist and not in a group, why you didn't write your own songs but still got all the best ones, and why you had your good girl image. You were the role model for school girls everywhere in your pale pink skirts that matched your lips.

He'd never worked with you before. You were always so clean-cut, so bubblegum. It wasn't the type of song he wrote or worked on. In fact, despite working at the same company, and you being one of the largest idols signed with them, Yoongi didn't remember ever meeting you. He'd seen you passing, your manager placing his hand on the back of your skull to shield you from the camera flashes. Your hood up and a mask pulled up to cover most of your face.

"I've never done one of her songs. Why this one?"

"After the last year, it's impossible for Y/N to go back to her pure image. It just isn't believable. We need you because you don't do typical sounding songs."

Yoongi thought for a moment. An edgy Christmas song? Certainly possible, but could you really pull it off?

"It will be a new version of Last Christmas. We want it to be heartbreaking. Address the scandal without directly commenting. You have a knack for subtly that she needs."

"All right," he said. He knew he had no choice in the matter and it was only one song. Yoongi hadn't made his name as a producer doing bubblegum songs, but the company allowed him to release his own music under their label as long as he produced all the other artist's songs they asked of him. "But I'm not going to be like the other producers she's worked with."

✦✧✦✧

The night before your and Yoongi's first recording session he pulled up a playlist of your songs. You had a good voice, Yoongi would admit. He listened to a few seconds of each. You had the sweetheart image with mostly upbeat pop songs with a few heartbreak ballads mixed in. They were all written by the best songwriters at the company, except for Yoongi, of course. He'd never written for you, although you had considered one of his songs once.

A few emails exchanged before you ghosted him. "Wine" ended up going to another soloist and had won Yoongi an award, he really didn't care. After the scandal, you had the spoiled brat look. And, honestly, it didn't surprise Yoongi. Everyone knew you came from a well off background and went to a private school that the company commonly scouted at.

Girls like you always had talent, but you always ended up destroying yourselves. He was surprised you were even trying for a comeback instead of taking the money you'd made so far and setting yourself up to live off royalties until your name was forgotten enough to re-invent yourself.

When the scandal broke, Yoongi had just released a new mixtape. It affected the entire company, causing the sales and streams of his album to plateau. He silently cursed your name as he tweeted album links.

✦✧✦✧

Yoongi sat in his studio. The hood of his black hoodie pulled over his head and slightly crouched in his chair, he worked on your song. While he didn't have your vocal yet, he could easily work on the instrumental. It was tricky. "Last Christmas" was an iconic Christmas song that needed to be recognizable, but he also needed to make it different and stand out from every other cover.

His phone vibrated. It was you.

Y/N: I'm heading down now

You were most likely heading downstairs from the dance studios. He took off his headphones and soon heard a gentle knock on the door. He kept a lock on his studio to prevent anyone from bothering him while he worked. Only a few people had the code. And only to make sure Yoongi left every couple days.

Opening the door, he first saw your small smile. All lip, no teeth, yet still friendly. Behind you stood your manager, the one with who you'd had the scandal. Despite your break up being publicized, he was contracted as your manager for another year. Yoongi had no idea why you didn't just buy him out and let the poor kid get on with his life.

"Hi," you said softly, bowing politely before walking inside and leaving your shoes by the door. Your hair was up in a ponytail and you wore a blue sweatshirt three sizes too big. "It's nice to finally meet the famous Suga."

He returned a tight-lipped smile and reached out to shake your hand, but your manager stepped in front and shook took Yoongi's hand instead. "I'm Kwanho, Y/N's manager."

Yoongi nodded, giving the man an odd look as you skirted to the side. He noticed the way you balled up your hands in your sleeves and looked down at the ground when the other man pushed you out of the way.

"Nice to meet you," Yoongi said. "If you give me your number, I'll call you when we finish for the day or if we need anything."

Yoongi motioned to the recording booth and you walked in, putting on your headphones and immediately taking your place. You seemed to relax as you prepared yourself in the booth, beginning to test the microphone and adjust the cords around your feet.

"Oh, no, I actually stay in the studio with Y/N."

Yoongi paused. "Uh, well, I tend to work better when it's just me and the artist. You know, so I can kinda get a feel for them and get the best vocals."

"She's more comfortable when I'm here."

Yoongi glanced over at you in the booth. You seemed much more comfortable by yourself in the recording booth than you had with your manager and ex-boyfriend.

"She seems fine. Listen, this is my studio and it's a bit small. I really don't like people getting in the way."

Your manager fumed, his hair beginning to stand up and his face growing red. His fists clench around the water bottle he carried and he sighed.

"Fine," he said. "Just let me give this to her."

Kwanho walked into the booth, his form completely hid yours as he stood in Yoongi's view. He saw the man hand you the water bottle. Even after you took it, the man loomed over you for a few extra seconds.

Knowing he had an audience, your manager soon left the booth and the studio. When Yoongi heard the lock click shut, he turned on his mic to talk to you.

"Y/N?" he asked. "You ready to get some vocals. Need to warm up at all?"

You shook your head. "No, I warmed up while we were waiting."

✦✧✦✧

It had been nearly a year since you'd recorded anything in a studio. Yet, nothing felt foreign. You had immediately adjusted everything to your preferences. Taking a sip of water as Yoongi started the music, you began singing. Your phone was full of practice runs from the night before. You didn't want to embarrass yourself in front of the famed producer of your company.

You had no idea what he'd said to Kwanho to make him leave, but your stomach had untied its knots when you saw him leave the studio. Even with Yoongi's critical gaze, you were used to tough producers.

"That was good," Yoongi said. "But, I listened to some of your tracks last night and I know you can do better. Think you could lower your voice a bit on the chorus."

"Lower it?" As a soprano, you were used to coaches and producers pushing your voice to its highest notes and octaves. Rarely ever did your lower range get explored. "Uh, I can try. But why?"

"Well, this comeback is supposed both your vulnerability and strength, right? if we explore the range of your voice more, it will show a different side of you. Plus, if your vocal isn't perfect it might show some of the vulnerability we want."

Your eyes widened and you nodded as the track started again.

4 Hours Later

Yoongi was growing frustrated. Your vocals were fine, but only that. They weren't anything special. He couldn't entirely blame you. You weren't used to singing in your lower register and it seemed your vocal coaches only cared about cultivating your voice for the cutesy songs of your past.

He sighed and rubbed his temples. "All right, let's take a break," he said. "I think we both need it."

You came out of the booth and almost immediately held the phone to your ear. His brow furrowed as he wondered who you were calling so immediately.

"Hey, we're taking a break."

Based on the quick response and hang up, Yoongi knew exactly who it was.

"Is he bringing you lunch?"

You nodded and sat down on the small loveseat Yoongi kept at the back of his studio for the artists or few visitors that came in. Pulling your knees up to your chest, he couldn't help but notice how much smaller you looked. When he'd seen you before the scandal, you looked healthy and filled out all your tight skirts and dresses.

Maybe it was just the oversized sweatshirt, but you looked thinner. Your collarbones stretching your skin and your cheekbones more prominent. He walked over to where he kept an electric kettle and started heating water.

"Want some spicy noodles?"

You shook your head.

A knock sounded and you got up. Letting your manager, Yoongi cause his hard gaze. He handed you a bag and refilled your water bottle. "Remember you're on a diet, okay?" he said.

You nodded.

"So, how's it going? Got enough for the song?"

"Not yet," you said. "We're working on it. Yoongi is really pushing me, but I think it will turn out well."

"I hope he's not working you too hard."

"Of course not, I love being back in the studio."

Yoongi poured the hot water into the instant noodles. "I think we'll need another day. Clear her schedule tomorrow."

Kwanho blinked twice. "Y/N is talented. I have every confidence it will only take one session."

"How long have you been her manager? Surely, you know it can take multiple sessions to get everything I need."

"I haven't recorded for a while, Kwanho. It's just cause I'm out of practice."

Your manager sneered and dropped the water bottle. "Fine," he said. Leaving the studio in a huff, he didn't seem to realize he'd spilled the water all over Yoongi's studio.

"I'm sorry," you said, looking around for something to soak up the mess. "He's just protective and doesn't like leaving me alone."

"Didn't you two break up?"

"Yeah, which I think made it worse."

Even if the two of you were still dating, Yoongi sensed something wrong. He pulled out paper towels from a nearby drawer and dropped to his knees to help you.

"He's kind of a dick."

"He wasn't always. Would you believe he was once really sweet?"

"Maybe he acted that way."

The two of you ate in relative silence, only piping up to discuss the song or the general happenings of the company. Yoongi finished his noodles and you finished your salad. After a few sips of water, you walked back into the recording booth.

✦✧✦✧

It wasn't until nine o'clock that night when you and Yoongi finally agreed that enough progress was made. Yoongi waited for Kwanho to pick you up and he watched as the light he'd seen in you when you recorded slowly dimmed.

He didn't knock this time, opting instead to text you. You answered the door and he walked in. Without a greeting, he met Yoongi's eyes. "She's free tomorrow. But let's make sure to finish this up tomorrow. We only have a few weeks before we have to release."

"Last I checked you weren't my boss," he said. "I understand the timeline and the song will be done in time."

Yoongi turned to you. "If you record anything good tonight, you can text it to me. If it's good quality, we might be able to use it."

"Wait, you have his number?" Kwanho asked, grabbing your bicep.

"Yeah, I've had it since I showed interest in his song a year ago." You glanced at Yoongi quickly before bringing your eyes back to your manager. "We're working together. I don't see why it's a big deal."

"If you need to text him recordings text them to me and I'll get them to him."

You scoffed. "Kwaho! Stop being so jealous, this is ridiculous."

The atmosphere came to a boiling point and all Yoongi could focus on was you. The way you puffed out your chest at your ex-boyfriend and called him out. But, he noticed the fear in your eyes, the way you flinched when Kwanho let go of your arm.

"Let's go, Y/N. We can talk about this later." Opening the studio door, Kwanho motioned for you to leave before him. "And, you," he made sharp eye contact with Yoongi. "Delete her number."

You and Kwanho disappeared through the door and Yoongi locked his phone, placing it back in his pocket.

✦✧✦✧

Yoongi stayed in the studio after you left. It wasn't unusual for him to stay until the early hours of the morning. Sometimes, he would even sleep on the couch and get a few hours of sleep before continuing in the morning.

The deadline for your song didn't warrant such actions. Instead, he just sat in his studio and read back through his notes from the day. There were a few bits of your backing vocals from the day that he wanted to include on the final track, but the main vocal still needed work.

Thinking back over the day, he was surprised at how different you were from what he believed. You were soft-spoken, polite, and good to work with. You took direction well, but pushed back when Yoongi got too caught up in the production that he made a bad call about your voice.

Kwanho--on the other hand--wasn't the loyal manager you took advantage of. At least, not from what Yoongi had seen today. He'd heard others at the company say you deserved it for using your relationship to get special treatment. But something didn't feel right about the way your manager still held control over you.

✦✧✦✧

It rarely snowed in November in Seoul. Yet, as Yoongi stepped outside around midnight, he was met with cold, wet snow that soaked the ends of his hair. He walked towards his apartment that was only a few blocks away when his phone rang. It was you.

"Suga?" you asked, and Yoongi realized he hadn't even told you his real name.

"Yes," he said. "What's up? Did you get a good recording?"He heard sniffles on the other line and he stopped walking. "Y/N? What's wrong?"

"We fought after we left and I finally fired him. But now I have nothing," you said. "He took everything. My apartment, my money, everything. I was wondering if I could stay in your studio for the night until I can figure something out."

Yoongi looked up at the snow and felt it soaking through his clothes. "Where are you?"

"I'm outside the company building. I don't have my ID."

"I just left. I'm on my way."

✦✧✦✧

Yoongi handed you a cup of coffee. You wore his sweatshirt and a pair of his sweats. It felt a little embarrassing and you knew what the tabloids would think you were taking advantage of yet another at your company.

"I don't have creamer or anything, sorry," he said.

You smiled. "Suga doesn't have any sugar." You took a sip of coffee and felt his gaze on you. When you looked up, you saw him smiling at you and holding in his laughter until you met eyes.

"It's amazing that you can make jokes when your life is changing," he said.

"The lawyers will handle everything," you said. "Plus, what can I do now other than finish the song?"

There was a pause, but unlike when you were in meetings with the company executives, or when the silences between you and Kwanho led to explosions, it was content.

"I need to apologize to you, Y/N."

Your brow furrowed. "Why? You've been so nice to me."

"I judged you. I believed the press, too. Even up until yesterday, I believed you were entitled and the one taking advantage of Kwanho, not the other way around."

"There was no way you could've known, Suga. But I appreciate it."

"Yoongi," he said. "Call me, Yoongi."

✦✧✦✧

"What if we change the song?" Yoongi said, halfway through the next day when nothing was coming together like both of you wanted.

"What do you mean?"

"Instead of focusing on Last Christmas, what if we wrote a new version that focuses on how you've changed for the better."

"This Christmas?" you said, your voice rising in pitch.

"Actually, yes."

✦✧✦✧

BREAKING: Y/N RELEASES NEW CHRISTMAS SONG PRODUCED BY SUGA THAT DETAILS PAST RELATIONSHIP ABUSE

Today, Y/N released her first song following last year's Christmas Day scandal that revealed that she was dating her manager. She is due to have her first comeback stage later this month.

The song, "This Christmas" discusses how when the news broke that it had been an attempt to control her. Her ex-boyfriend and manager leaked the news himself to prevent the singer from breaking up with and firing him. It focuses on the strength this experience brought her.

Y/N and her ex-manager are currently involved in a lawsuit that alleges that her manager used his privileged position on her staff to access her bank accounts and important documents. He then used this access to steal from the singer and commit various other crimes against her. Additionally, Y/N has told other sources that she was frequently controlled and emotionally abused while in the relationship.

This new song has already performed well on the charts and shows a new side to Y/N and her music. Famed producer, Suga, produced the song and spoke out in support of Y/N. The two have since been seen together on multiple occasions following the release of the song. A new Christmas romance for Y/N?

#bts #btsimagines #bts imagines #yoongi #btsfanfic #bts fanfction #yoongi fanfic #suga #suga fanfic #bts fan fiction #yoongi imagine #producer yoongi #fan fiction #originally posted on wattpad #farfromsuga

44 notes · View notes

newmusickarl · 3 years

Video

youtube

Album & EP Recommendations

As there is a HUGE amount to cover this week, I’m trying something a bit different with some slightly snappier reviews and a genre inclusion so you can head straight for the recommendation that matches your musical preference. There’s at least one album from all the key genres this week too, so hopefully a little something for everyone. Without any further ado then, here’s what’s good:

Album of the Week: Comfort To Me by Amyl & The Sniffers (Punk/Rock)

My personal preference from this week is the rip-roaring sophomore album from Australia’s own Amyl & The Sniffers. Although I was already vaguely familiar with the band’s previous work, I was still not prepared for the full throttle, smashmouth, rifftastic contents of this utterly brilliant record. As a result, this one hit me like a lightning bolt, thanks to the furious energy of frontwoman Amy Taylor and the mind-melting guitar work throughout.

From the off, absolutely nothing is held back here, as Taylor’s punk vocals and razor-sharp lyrics hit you in the ear like haymakers. What’s most surprising though is how the shredding guitar riffs that are littered across this record manage to sound so astonishing and impressive, yet at the same time as if the band are not even trying at all. It’s completely hypnotising yet everything is made to sound so easy and natural thanks to the sheer rawness of the music.

This one also already plays out like a greatest hits record too, with Guided By Angels, Security, Hertz, Maggot and Capital five of the best pure punk rock tracks to emerge in the last five years. Concise, in-your-face and no moment spared, this is a rock record the kind of which rarely gets made anymore. Without a doubt, one of the best of the year for its genre.

Listen here

Hey What by Low (Experimental/Alternative)

They may be 13 albums and nearly 30 years into their career at this point, but American experimental rockers Low show no sign of slowing down at this point. Still relatively fresh off the back of their hugely acclaimed album Double Negative, which was widely seen as the Album of the Year in 2018, Low are back yet again with another sonic trip into the weird and wonderful.

Now I must admit although a lot of people adored Double Negative, I personally was always a bit indifferent towards it. I appreciated the sonic textures and the heartfelt moments, but it never completely resonated with me like I know it did for others – one that fell into the “easy to admire, hard to love” category. That is not the case with this new album however, as with Hey What they seem to have further refined what they started on that record, creating an album that’s just as impressive but possibly more accessible than its predecessor.

Opener White Horses picks up pretty much where they left off under a tidal wave of soaring vocals and stunning yet unsettling distortion. From there you’ll once again be checking your audio equipment hasn’t broken, as Low playfully mess around with musical conventions and gargantuan glitchy soundscapes to great effect. This also allows the slightly sparser tracks like All Night, Don’t Walk Away and particularly Days Like These, to emerge out of this masterfully produced cacophony as some of the most haunting and stirring moments.

They may not have won me over with the last one, but they certainly have now – an outstanding album that leaves a lasting impression.

Listen here

Star-crossed by Kacey Musgraves (Country/Pop)

Golden Hour was another hit with the critics in 2018 that, much like the Low album, didn’t quite capture me. But again, just like Low, I prefer this latest work from country-turned-pop singer, Kacey Musgraves. With Star-crossed, Musgraves aims to craft her own Shakespearean tragedy, with all the theatre and the drama that goes with it.

The title track opener perfectly sets the stage as the gentle plucking of the acoustic guitar is suddenly surrounded by soaring, multi-layered instrumentation. It is all hugely cinematic and from there on in, Musgraves weaves her tale of heartbreak with plenty of catchy hooks, polished production and solid, heartfelt songwriting. However, the best moments are arguably when Musgraves keeps it raw, such as on camera roll where she takes something as simple as finding old photos of a lost lover on a phone and relaying back to the listener the pain that moment can bring.

In a year that’s already seen some brilliant pop albums, Musgraves stakes her claim with a well-crafted record built on a tried and tested concept. It’s a successful outing with more than enough great tunes and interesting instrumentation (see the jazz flute on there is a light in particular) to keep you interested from beginning to end.

Listen here

Enjoy The View by We Were Promised Jetpacks (Alternative)

Scottish indie rockers We Were Promised Jetpacks also released their stunning fifth album this week. This one pulls at the heartstrings from the get-go as the gentle waltz of reflective opener that’s Not Me Anymore immediately locks you into the record and refuses to loosen its grip until the very last note. There’s plenty of spine-tingling moments throughout too, such as the melancholic riffs of All That Glittered, the haunting sparseness of What I Know Now and the uplifting melody of I Wish You Well.

Listen here

Back In Love City by The Vaccines (Indie)

A band well adept at writing killer hooks at this point, indie rockers The Vaccines have also returned with their fun fifth album this week. Not too much to say about this one other than if you are a fan of their previous efforts the chances are you’ll adore this one too, as their music continues to deliver big riffs and anthemic choruses aplenty, but with more refinement and polished craftmanship at this veteran stage in their career. Highlights include the ultra-catchy title-track and the galloping, Western-stylings of Paranormal Romance, which comes across a bit like their own version of Muse’s Knights of Cydonia.

Listen here

Mother by Cleo Sol (R&B/Soul)

Fresh off her high-profile collaborations with Little Simz and Sault, singer-songwriter Cleo Sol has once again stepped out on her own, this time exploring themes of motherhood. Gracious, compassionate and quite moving, it’s a stirring soul record where Cleo’s soft yet powerful vocals take centre stage against a backdrop of minimal instrumentation. If you need something peaceful and easy listening, you won’t go wrong with this one as Don’t Let Me Fall, Promises and We Need You offer up the most beautiful moments here.

Listen here

The Melodic Blue by Baby Keem (Hip Hop/Rap)

There is a lot of pressure that comes with being Kendrick Lamar’s cousin, however you wouldn’t know it listening to Baby Keem’s assured debut album. Although it is admittedly quite hit and miss (first two tracks trademark usa and pink panties ironically leave a lot to be desired), there are enough high points here to make this record worth your time. The collaborations with Kendrick (range brothers and family ties) both strike a chord while the Don Toliver (cocoa) and Travis Scott (durag activity) featuring tracks also dazzle. That said Keem is arguably at his best when he’s riding solo, such as on the heartfelt issues and the Kanye West Love Lockdown sampling, scars.

Listen here

I’ve Been Trying To Tell You by Saint Etienne (Ambient/Electronic)

Crafted over lockdown, this tenth studio album from the London trio is a gloriously understated dive into modern British history, 1997-2001 to be precise. By using evocative imagery and samples from the turn of the millennium, where R&B and bubblegum pop dominated the musical landscape, they have forged quite a dreamy ambient record. Wonderfully creative and a fairly chill listen, it’s a fascinating reflection on a time when the world seemed a lot less complex than it does today.

Listen here

The Blacklist by Metallica (Metal/Various)

And lastly on the albums front this week, I have been promoting the various Metallica covers released as part of the The Blacklist project for several weeks now, but now finally the full album has been revealed along with all the covers yet to be shared as individual releases.

At 53 songs long, the tribute to Metallica’s classic Black Album is certainly not one to run through in a single sitting, however there is plenty of fun covers here to dip into and explore. In case you haven’t seen, amongst those offering their own versions of these classic tracks are: Miley Cyrus & Elton John, Phoebe Bridgers, Dermot Kennedy, Weezer, Biffy Clyro, St. Vincent, Rina Sawayama, Sam Fender, Flatbush Zombies, Portugal The Man, IDLES, Cherry Glazerr and many, many more.

Listen here

Tracks of the Week

Beautiful James by Placebo

I’m also over the moon to say Placebo finally released their new single this week, their first since 2016’s Jesus’ Son. Beautiful James shows that Brian Molko and Stefan Olsdal haven’t missed a step in their five-year hiatus, with this one centred on a typically instant chorus and some neon-soaked synths. A big welcome back to one of my all-time favourites!

Listen here

I Don’t Live Here Anymore by The War On Drugs

Although the first single from their forthcoming new album may have been more understated than normal, on this title track Adam Granduciel & Co. return to the soaring stadium-sized rock for which they are known. Undoubtedly one of their finest tracks to date, you’ll want to stick this one on repeat just so you can keep getting lost in those wonderfully atmospheric guitar riffs.

Listen here

Arcadia by Lana Del Rey

And finally, Lana continues the build towards her second album of 2021, Blue Banisters, with this latest single seeing her on typically vintage form as the song sounds as if it was pulled from another time. With distant horns and a gentle piano, it’s as stunning as any of her best recent work.

Listen here

2 notes · View notes

felicia-cat-hardy · 3 years

Text

Olivia Rodrigo's Music Style: Pop-Punk Rockers Who Influenced Her

Olivia Rodrigo’s debut album Sour comes out on May 21, and by now, you certainly know that the 18-year-old singer-songwriter counts the queen of vulnerable love-lorn melodies, Taylor Swift, as one of her most prominent influences. But after topping the charts for eight weeks with “drivers license,” it looks like Rodrigo is rearing into the rock lane, giving us the teenage angst and pop-punk petulance we deserve with the fiery “good 4 u” and impressive live performances.

Trust us, we know we don’t have to compare and contrast every female singer that’s ever made music that isn’t strictly pop, but why not salute the plaid-wearing, Doc Martens-donning foremothers of pop-punk, because as the Saturday Night Live skit on that very topic clarifies, yes she’s wearing her influences on her sleeve, “but it’s also pure Olivia, man.”

Plus, as Rodrigo shared in an interview with The Face on the sound of her upcoming album, “I feel like music is becoming increasingly genreless. I suppose I’m considered a pop artist, but I’ve never felt like one. This album is full of stuff that I like, which is so diverse. There are elements of alternative rock in there, alt-pop, some country, and definitely a lot of folk. I think anyone can find something they like hidden in one of the songs.”

So if you, like us, need something to hold you over while you wait for Rodrigo’s debut, here are 7 pop-punk rock purveyors to press play on.

1. Hayley Williams

It’s hard to think of anyone more capable of creating pure unadulterated pop-punk ballads with unparalleled vocals than Hayley Williams of Paramore, or as she was referred to by NPR, “The 21st Century's Pop-Punk Prophet.” However, with her latest single “good 4 u” Rodrigo is giving her a run for her money. In the track, Rodrigo shows off her vocal versatility, oscillating from singing to talking over electric guitars and a staccato bass line, much like Williams in Paramore’s “Misery Business.” In fact, this mashup of both tracks makes the reference and reverence to Paramore clear, plus it’s an absolute banger.

Williams put emotional fragility, powerhouse vocals, and punk rock authenticity front and center at a time when female-fronted bands were few and far between, giving a generation of young women, like Rodrigo not only someone to emulate but something to look up to.

2. Avril Lavigne

The week Olivia Rodrigo was born in 2003, Avril Lavigne was in the Top 10 with “I’m With You,” according to Rolling Stone. Coincidence? We think not. If that doesn’t tie the influenced to the influencer, just look at Lavigne’s legacy as one of the first songwriters of complicated relationship-themed pop-punk hits, like in her chant-along track “Girlfriend,” the formidable “Sk8er Boi,” and of course, the direct embodiment of that sentiment, “Complicated.” Rodrigo has not only been embodying Avril’s angsty sing-along-worthy lyrics but also replicating her wardrobe, recently rocking combat boots and a plaid corset with matching wide-leg pants (pictured above) and a chain belt you’d find at the checkout counter of any Hot Topic in the early aughts during her Saturday Night Live debut.

So, would the lyrics “It’s like we never even happened Baby / what the f*ck is up with that” in Rodrigo’s “good 4 u” exist without Lavigne singing “And hell yeah, I’m the motherf*cking princess” in “Girlfriend” first? Lucky for us, we’ll never have to find out.

3. Fefe Dobson

Fefe Dobson, is rarely mentioned in the pop-punk canon, but the singer made her mark as one of the few Black pop-punk singers of the early aughts, creating space for artists like Rodrigo who don’t fit into the predominately white male makeup of the genre.

Dobson was just 17 when she entered the pop-punk scene with tracks like “Everything” and “Take Me Away” on her debut album, one that saw her leaning into the same teenage love sentiments of falling hard and questioning it all we see in tracks like “drivers license.” Speaking to Nylon, Dobson discussed how much the scene has changed and made space for diverse artists: “I definitely think there’s no such thing as genre these days. When I was coming out in 2003, I remember people saying to my manager, like “Do you really think this Black girl’s going to do this rock-pop stuff and this is going to work?” I don‘t think that would be even said today. I think that’s a big difference.”

4. Gwen Stefani

Is it dramatic to say that without the anthemic, feminist, pop-punk rock track “Just A Girl” released way back in 1995, none of the new school punk-pop girls would be making visceral “girls to the front” vulnerable hits right now? Maybe, but it’s hard to say. With her pension for performance, fashion, candid lyricism, and devil-may-care attitude, Gwen Stefani has not only made space for herself but artists who want to replicate that same energy.

Rodrigo has never shied away from her love of No Doubt’s leading lady. On multiple occasions she’s discussed finding Stefani’s fearless ability to share personal stories and details about her innermost thoughts and desires as inspiring (and if that’s not punk rock, what is?). In an interview with Elle, it was even revealed that Stefani’s portrait was tapped to Rodrigo’s bedroom wall in a sort of shrine, dedicated to songwriters she admires. In a full-circle moment, Stefani wrote about Rodrigo for Time magazine’s 2021 TIME100 Next list, sharing, that “by pouring her heart out with so much courage and total command of her talent, Olivia made magic.” We agree.

5. Lindsay Lohan

There can be a lot said about the ins and outs, ups and downs, of Lindsay Lohan’s career. However, the platinum-certified album Speak was unquestionably a success for the then-Disney-star-turned-pop-singer who was one of the first stars of the channel to make that career pivot. She never toured for the Billboard charting album, but she did make the path from Disney star to pop-punk artists seem viable.

Rodrigo, who currently stars in the meta High School Musical: The Musical: The Series, discussed embracing her Disney start with Interview Magazine, sharing, “It’s been something I’ve given a lot of thought to, that Disney-girl archetype. I feel like there’s such a clear trajectory for what that is, and there’s so many amazing artists who have done it before me. I did grow up on Disney Channel. I am sort of this goody two-shoes. And I think shying away from that would do my art an injustice too. I just try to be as real as I possibly can.”

6. Liz Phair

Liz Phair’s fourth studio album was a masterclass in how to write a pop-punk romantic ballad while adding expletives to the climax of the track, like in her hit single “Why Can’t I?” It’s easy to see that same strategy playing out as Rodrigo sings, “I still f*cking love you, baby” in “drivers license.” Phair’s eponymous album also features the self-love ballad “Extraordinary,” which embraces her light and dark sides, something we’ve seen in Rodrigo’s first few singles and are sure to see in her debut. At the time of the album’s release, Phair was critically panned for selling out with Pitchfork claiming she’d reduced herself to “teen-pop.” But, as well all know nearly two decades on, there’s no truth to teen-pop being reductive, and Phair’s self-titled album has stood the test of time.

7. Ashlee Simpson

Back in 2004, Ashlee Simpson released her debut album Autobiography, an intimate pop-punk telling of her life. She also documented the entire process of creating the album on her series The Ashlee Simpson Show, something that was unprecedented at the time, but something current stars like Rodrigo who are used to being on camera and giving fans behind-the-scene looks at their creative process are now used to doing.

Simpson also deserves credit for pushing the boundaries of what was “allowed” for pop stars at the time, going her own way by dying her blonde hair black, and pushing back on her label who wanted her to make bubblegum pop. She ushered in an era of sad girl teen pop ballads with tracks like “Pieces Of Me” that artists like Rodrigo are still emulating today.

Olivia Rodrigo

We’ve got to end this story with Rodrigo herself, setting a bedroom on fire in “good 4 u,” and subsequently igniting another phase of her ever-evolving career. She’s got a sound all her own, and we can’t wait to see where she takes it to next. We know she’s here to stay.

Olivia Rodrigo’s debut album SOUR is due out May 21 via Geffen Records.

Get Relationship Advice Here

3 notes · View notes