in the haze, pt. 1
*
imagine a soft, glowing
lucent in the haze
as i walk apprehensively towards…
concurrently receding at the same pace
as my halting advances,
heeding the opaquely present pavement
beneath me
even at this close proximity.
pulled by an inner prompt,
a gut-based tug
luring me to a grand fate uncertain
or lesser,
a conundrum to suss should i wish to partake;
surprisingly untrafficked,
one is led to wonder who...how...
& most importantly
why here? why now?
perhaps the glow denotes
or in my case, portends
an overblown phenomenon
borne of undiagnosed paranoia,
unacknowledged fatigue,
justifiable diversion, or
some satisfying reckoning;
even unsatiated wanderlust
lasting well into mid age
& beyond.
just who stands to gain or lose
based upon my teetered stance here:
on the one hand, stoic, heroic
the other -
feckless & recklessly heedless.
as a popular song's refrain asks:
"…should i stay or should i go?"
well...should I?
*
3/24 - lebuc - in the haze, pt. 1
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That cursed cat Alastor thing going around is too good, it has me posting messy meme pseudoWIPs like I’m not a chronic perfectionist
Anyway, I’m desperate to know if cursed cat Alastor still owns Husk’s soul and if so, how he holds his cane? A close second was gonna be the microphone dangling from around his neck like a cowbell, but readable silhouettes won out
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Silver Haze (2023) dir. Sacha Polak
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I feel like some Fall Out Boy songs sound stupid until you listen to them in a very specific state of turmoil and then you’re like oh I get it hahaha yeah cheers Patrick yeah I’m gonna need u to sing that for me fifteen more times
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You know, it's rather interesting to me that Taylor Swift's parasocial relationship with her fans is honestly more akin to a YouTuber than a writer's. When I scroll through her tag on tumblr/Twitter, it's far more regarding the connection to her personal life/relationship developments than the actual metaphors/fictional story she might be telling. Everything comes back to how her songs reflect back on her relationships with Joe/Matty/Travis/Jake/insert ex-boyfriend here. And what fascinates me about it is that even though she complains about it, she leans into that very perception because it strengthens the parasocial bond.
The marketing for TTPD so clearly being about Joe Alwyn and the songs to Matty Healy. The marketing/video for Red TV so CLEARLY being about Jake Gyllenhaal, with so many of the new lines in All Too Well specifically being digs at him (I'll get older but your lovers stay my age, casting an actor that looks like him for the video, specific lines in I Bet You Think About Me). The fact that songs like Getaway Car and Bejeweled and Gorgeous and London Boy and Lavender Haze being picked apart at time of release and long after for signs of relationships crumbling. The way she uses surprise songs in relation to her relationship development with Joe/Matty/Travis. The damn TTPD "stages of grief" playlists where she deliberately undid/changed the meanings of old songs just to keep her audience speculating on her love life.
It's not sexist to point out that her wielding her love life is a marketing tool and that the strongest connection to her audience isn't the strength of her writing/the composition of her music- it's her deliberate crafting of a connection between her music and her personal life, leaving the audience invested in her music as an extension of Taylor the Person/Girlfriend rather than Taylor the Artist.
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