#song quoted is “the monster's lament” its really good]

[skybristle]

REBLOGS > LIKES [tags appreciated!]

"What purpose could such anguish serve in company of man? I don't think I'll ever smile again"

the gif really crunches the quality so i also added a version thats just the illustration :] i really like the aesthetics of the iterators . yes i drew the umbilical wrong i am choosing to ignore that <3

au developed with @drake-dragon as always. shes so fucked up <3

[shirtlesssammy]

4x14: Sex and Violence

Then:

Sam’s being seduced by the dark side.

Now:

We open with a happy couple going through the joys of settled marital bliss. Or at least a couple where the husband comes home late from work, the wife makes plans without his input, and the husband becomes dangerously angry --and by dangerously angry, I mean he takes a meat tenderizer and smashes his wife’s brains with it. Joy.

Because I’m not passing this up without a screenshot, here’s a rare shot of Bby Dean all tucked in and sleeping in what appears to be sleepwear. A rare sight in the wild.

He wakes to see Sam on the phone with someone, but quickly acts like he’s asleep when he realizes Sam’s not on the up and up. Sam “wakes” him with a case!

They head to interview the husband, who’s now in jail.

The husband explains that he killed his wife because she made plans without telling him. He knew what he was doing, but he doesn’t know why he did it. He loved her. They were happy. The boys bring up some dodgy credit card charges. The man admits to going to a strip club and meeting Jasmine. She was everything. He killed his wife for Jasmine. He takes full blame for what he did to his wife. Sidenote: The camera work is really interesting...so many extreme close-ups and cuts.

At Dr. Cara Robert’s office, Agent Stiles (I’m assuming it’s not Harry…) shows up for some questions about the three men who killed their wives. She reveals that all three men had high levels of oxytocin --the love hormone. Sam’s hitting it off with Dr Cara when Interrupting Squirrel arrives. (Side-side-side-note: I just looked up who Stiles and Murdock were. They were the characters from Route 66. Murdock is portrayed by an actor named George Maharis. And here I always thought George Michael Bluth’s fake name was an original goofball name. Oof. Arrested Development is the show that just keeps giving.) Dean turns on his “charm” but she only has eyes for Sam.

They boys head out, but not before Sam can get in one more bit of flirting. Dr Cara is smitten.

(For a one-off liaison for Sam, I LOVE THEM.)

Dean’s research revealed that each man’s story played out the same way, but they all fell for a different woman from the strip club.

Sam and Dean head to the Honey Wagon strip club for research that night. Dean gets nowhere with the club’s owner. No paperwork, all independent workers. Sam talked with Bobby, who suggests they’re dealing with a Siren. They’re beautiful creatures that prey on men, and entice them with their siren song. Dean’s song: Welcome to the Jungle. “So they shake their thing, and the guys zombie out?” (Side-note: SPOILER...Dean’s siren IS A MAN. I don’t want to jump ahead but I CAN’T WRAP MY HEAD AROUND THIS WHOLE EXPLANATION, AND THEN CONTINUE ON WITH THE “DEAN’S TOTES STRAIGHT” BULLSHIT THIS SHOW IS FEEDING US.) “Whatever floats the guy’s boat?” “So it can be the same chic, morphing into different dream girls?” Just as the brothers are lamenting the fact that it’ll be nearly impossible to locate the siren, one worker takes a client outside.

He takes her home for sexy-time, but not before checking in on his infirm mother. Later, she passively aggressively asks him to kills his mom so he can be with her forever. Then she just aggressively suggests he bash her brains in so they can be together. (Side-note: If this example of the siren working its wiles on a dude and his mom is supposed to show the “familial” side of the situation to parallel Sam and Dean, uh, the SIREN IS STILL SEXY-TIME for the dude even if the person they’re making them kill isn’t a significant other.)

While at their motel, doing a little research, Dean has a chance to check out Sam’s phone. He calls the one unknown number, only to hear Ruby on the other end. He hangs up, pissed. Sam arrives and Bobby calls in information.

Bobby mentions that the siren injects the men with some kind of toxin. But if the siren gets any of the toxin, they’ll die.

The boys head back to the hospital to meet with Dr. Roberts. Sam is hoping to get a sample of the Oxytocin. THE FLIRTING IS OUT OF CONTROL, FOLKS.

They’re interrupted by another FBI agent, Nick Monroe. There’s some FBI badge measuring. Dean and Nick look each other up and down and introduce themselves. There’s some staring (LISTEN, I’m just going off what the camera work is telling me, ok?) And Interrupting Moose, off-screen, tries to get in on the intro-fest. There’s some more FBI measuring, and Nick stares at Dean the whole time while Sam answers the questions. I mean, this is a master scene in heteronormativity. Nick calls the brother’s boss to check their credentials. Bobby, busy frying up lunch, puts everything in order.

Nick lays a theory on them all: all the attackers were hooking up with strippers from the same club. Sam and Dean bask in feelings of superiority because...DUH. Dean’s ready to be a “lone wolf” but Sam tasks him with occupying Nick instead.

It’s okay, though, because Nick is 100 billion percent into Dean(‘s car).

At the strip club, Dean’s not even watching the women (for pleasure OR for the case). He’s drinking and comparing music nerd levels with Nick.

There are “not a lot of Feds as cool as us,” Dean says, totally suavely. Totally, Dean! Finally, they get around to talking about the case. Nick pulls out further evidence that he collected...it’s a baggie with flowers matching the ones in Dr. Cara’s office. According to Nick, similar flowers have been found at every crime scene. He suggests that it’s the signature move of a serial killer. (Sorry, Nick, but Sam’s the one heavily into serial killer talk.)

Back with Sam and Dr. Cara-of-the-insidious-flowers, they’re reviewing security footage to find out who stole the blood samples from the attackers. It’s a no-go, though. Someone has already doctored the tapes. Sam tells her that he suspects a cover-up of the killings and that the men were drugged. Otherwise, why would they kill their victims in the first place? “Haven’t you ever been in a relationship where you really love somebody and still kind wanted to bash their head in?” Dr. Cara...keepin’ it real.

She pulls out alcohol to share from a cabinet in her office. (She’s clearly working through some issues of her own, poor bean.) When Dean calls she encourages Sam to ignore his phone call. It’s adult time now, baby. She can’t stop thinking about Sam’s lips, for example.

I’m sure I speak for Boris when I say:

Later, Sam heads back to the hotel room, accompanied by foreboding music. Dean’s not there, though. He’s driving in the Impala, and feeling disappointed in Sam. When they talk on the phone, Dean drops all his latest facts:

Sam’s ignoring Dean’s phone calls

Dr. Cara has hyacinths on her desk - which ties into the Grecian island where the siren myth originated

Her ex-husband is an ex because he’s DEAD, JIM

Also, why is Sam a jerk

Dean thinks Cara is the siren and he angrily asks Sam why he keeps hooking up with monsters. You’ll learn the allure of the supernatural someday, Dean. Maybe in just a few minutes in fact.

Dean enlists Nick’s help in canvassing for Dr. Cara. Nick finds her at a bar (poor, grieving Dr. Cara) and he and Dean stake out the late night dive.

In the car, they share swigs of a flask. Nick suggests that the poison might be entering the men through the saliva. Dean and Nick stare at the flask. “You really shoulda wiped the lid on that before you drank from it, Dean.”

Nick, who is totally the siren, tells Dean that Sam’s just a barrier to their relationship who needs to be removed. Nick can be like the brother that Sam’s failing to be. (Stares into the distance and thinks about labels.)

At the hotel room, Sam walks into an ambush. Dean holds a knife to his throat, while Nick delivers his villain speech. Yes, it is HE who has been driving men to kill others. “Maybe I got exactly what I wanted. I got Dean.” The siren reveals that he loves the hunt. He loves falling in love over and over again.

Nick squirts poison into Sam’s mouth. “Whoever survives can be with me forever.”

Sam and Dean, both under Nick’s control, turn to each other to...talk about their issues? The knife fighting comes later, clearly. Dean tells Sam that he’s changed, and lets him know that he knows about the calls to Ruby. Sam launches off of the Ruby subject and tells Dean that he’s too weak to fight Ruby. “You're too busy sitting around feeling sorry for yourself. Whining about all the souls you tortured in hell. Boo hoo.” DAMN, SAM. They fight - physically this time - and end up in the hallway.

As Dean is about to bring down an ax that he’s taken from the wall, Bobby appears! He jabs a bronze knife into Dean’s shoulder, throws the knife, and kills the siren. Damn, Bobby <3

Bobby lovingly chastises them later as they drink around their cars. According to Bobby, “Agent” Nick was clearly a big faking fake who fakes.

Dean asks if Sam will say goodbye to Cara but...nope. Sam’s just gonna blow outta town. (I think Dr. Cara mostly just wanted an uncomplicated hookup anyway, so likely for the best.) We leave the episode with awkward feelings all around. They’re “good” with each other but there’s a narrator voice intoning, “They were not, in fact, good.”

Whisper Quotes about Love:

Dude, you totally c-blocked me.

Strippers, Sammy, Strippers. We are on an actual case involving strippers.

Hey, I read.

For a fed, you’re not a total dick.

Want to read more? Check out our Recap Archive! 

[thesinglesjukebox]

BILLIE EILISH - BAD GUY

[6.93]

The Jukebox has thoughts on Billie Eilish? Well, duh.

Andy Hutchins: Nothing clicked for me with Billie Eilish until "Bad Guy." I understood the appeal intellectually, because it has sometimes been my wheelhouse: "Prodigy-cast makes off-kilter pop music from a perspective with more than a little precociousness and possibly a feminine spin that serves to disrupt rather than reify" is my jam for months at a time, sometimes. But some combination of prodigy and precociousness sometimes striking me as preciousness -- something that I've occasionally found issue with in the work of Sky Ferreira and Solange and Lorde and Cher Lloyd and fka twigs and Haim and Kacey Musgraves and Lana Del Rey and so many women who have occupied this same treacherous lane where deviating from delivering what is expected from a young woman making pop music can offend the sensibilities (or engage the biases) of even someone who has strained to stave off the stupidity of dismissing music made by young women and largely intended for young women -- and what I read as a deliberately dark and standoffish aesthetic put me off of Eilish, whose stuff just didn't compel me. Everything clicks for me with Billie Eilish now that I've heard "Bad Guy," which I reckon is pathetic on my part, because so much of the DNA of "Bad Guy" is in other work she's done that the things that differentiate it as The Hit and The Breakthrough come down to tempo and a kooky synth run in the hook that every third YouTube commenter thinks is stolen from Plants vs. Zombies. But "Bad Guy" is also an unassailable pop song and has come along at a time when bulletproof ones are not occupying the charts -- the closest competition in the current top 40 by my sight is, like, a Katy Perry song whose verses let down its magnificent hook, a bunch of drowsy-to-dire Khalid and Halsey tunes, a C- effort from Taylor Swift, and a microwaved Lizzo track that I've known of for a while and don't consider her best stuff -- and so it stands out even more from the pop metagame than the larger Eilish oeuvre does from a host of less realized tunes. And I'm a sucker for an unassailable pop song, especially one with a vocal initially delivered so low that it demands attention to the dial in the car but that is by turns brightly funny ("...duh!") and world-weary and campy to the hilt (the titular phrase being stretched to a titanium crocodile's rasp), a relentless bass line that sounds like a monster's heartbeat echoing in a cave, and lyrics that constitute a semi-sincere embrace of some Lolita tropes and a more powerful sarcastic destruction of them while somehow also being fully ready for Instagram captions and Twitter display names and ... well, no one's on Tumblr anymore. But that's hardly Billie's fault, and I'm not docking points for only barely failing to raise the dead with a virtuosic song that makes me this glad to be alive. [10]

Alfred Soto: There's a reason this song has become the breakout hit besides its insidious keyboard hook: Billie Eilish sings not mumbles the gender bending hook. Otherwise a ditty that the top 40 could use more of; its quietness is a tonic. [8]

Joshua Copperman: Sounds great, looks great (if possibly plagarized), memes great. The deadpan anti-sexuality of "might-seduce-your-dad type" is "Guys My Age" done right. The delivery of "my soul, so cynical" like even that is too earnest of a statement. The only weak part is the ending switch-up. But you knew all that already. Duh. Besides the cries of "industry plant!" there's also the ongoing sense that Eilish is a music writers' idea of what a 17-year-old Tumblr-born pop star would sound like. And sure, she's a young music writers' dream; I have a byline at Billboard because of her. But also, it's genuinely smart music that is mostly set to age well, even if it's hard to tell if it m a t t e r s. Who knows what 17-year-olds of any predilection towards seducing dads are actually listening to; I'm 21 and finding that out is only getting more difficult, if maybe not more necessary. If teens still control popular culture, if anyone does, who knows if this really does reflect them, or if its bottomless angst is mocked like Limp Bizkit? Is "Bad Guy" just "Heathens" for the late-2010s? Does this really represent the next generation? And which next generation; the shit-talking saviors, or the ones just like their parents and the radicalized alt-right kids? There's no easy answer to any of these, no "duh" to shrug them off. But there is Eilish and co. applying the daily grind of apocalyptic dread to smaller-scale topics. Processing death on "Bury a Friend," processing one's own body image on "idontwannabeyouanymore," processing changing gender roles here. Finding your place in 2019 is a lot for anyone. No one is getting it right. What Eilish does instead is turn that uncertainty to playfulness, confidently existing within the mess instead of trying to find her spot. [8]

Leah Isobel: I was on Tumblr in 2011, so "might seduce your dad type" doesn't feel as provocative as she might intend. (Also, Halsey did the exact same thing.) Besides, pop is a space for fantasy and role-playing, and she's not the first 16-year old bad girl to make adults freak out a little. What gets me is that the song itself is a brilliant production piece in search of an equally compelling melody; the biggest hooks here are an audible eye-roll and a Tim Burton rip. I love the idea of Billie as a goth-teen-pop star, and the choice to swerve into a spooky outro instead of a more traditional structure is genuinely a lot of fun, but this all feels like so much posturing -- normal for a teenager, but not that compelling to listen to on its own. [6]

Katherine St Asaph: If Billie Eilish is the Gen Z Fiona Apple, which I've heard from about three separate people even before the Discourse started, then "Bad Guy" is her "Criminal," down to it being creep flypaper. Everyone quotes that one dad line a bit too eagerly, like they're subconsciously thinking that if they have the pithiest take they just might get to be the dad. (It isn't even the most suggestive line.) There's a strong case for the dad being the bad guy, if only because he's, well, the guy. But "Bad Guy" lives in the world of teenage politics, where the guys just are and the girls get their badness thrust upon them, and their choices are to shrink away or play along. Duh. ("Bad Guy" : "duh" :: "Your Love Is My Drug" : "I like your beard.") But all this is pretty serious analysis for a fundamentally trolly song: half-mumbling the melody to a beat I'm pretty sure I made in a high school to go with a video project; rhyming bad/mad/sad/dad like a Mavis Beacon keyboarding tutorial (or whatever the kids have now; maybe they're just born typing); crooning an exceedingly Lana Del Rey-ish "I'm only good at being bad" then immediately cutting that crap for a bassy, fuck-off breakdown; filling only about 60% of the song with, like, song. [6]

Joshua Minsoo Kim: Not the most impressive or cohesive Billie Eilish song, but it is the one most likely to remind you of how fun her music can be (that she included the Invisalign skit in the video helps). The coda is fine, but the best reversal is found elsewhere: the nonchalant cries of duh followed by a cartoonish synth melody, underlining just how playful the song's darker elements are. [6]

Josh Langhoff: Eilish sometimes sounds like the Cardigans if they only did Black Sabbath covers, "evil" squeezed between an extra set of scare quotes, and sometimes she's Nellie McKay on downers, ennui shaped like wit but without the laughs. Sometimes she's good and sometimes she sings ballads. And somehow that combination produced "Bad Guy," the elusive Somehow Perfect Pop Song That Sounds Like Nothing Else On The Radio. I can't say I love it, but all her murmuring and posturing makes Top 40 radio seem, after too many years, like a playground of endless possibility. What'd we do to deserve this and "Old Town Road"? [8]

Jessica Doyle: Yes. Some are red, and some are blue. Some are old, and some are new. Some are sad, and some are glad, and some are very, very bad. Why are they sad and glad and bad? I do not know. Go ask why that menacing bass and Eilish's whisper didn't deserve better lyrics. [4]

Tobi Tella: Billie Eilish's artistic direction and style of music makes it seem almost impossible for her to make a legitimate banger, but this fits in perfectly with the rest of her album tone-wise and also completely slaps. The simplicity of the production, literally created in a bedroom just adds to the perfect low-key vibe. The lyrics do make Billie sound a little like a teenager who will cringe reading them in 10 years, but as an 18 year old, sometimes doing stupid stuff you know is destructive and immature is FUN, and this completely captures that feeling. [8]

Will Adams: I love love love the idea of this shifty, close mic'd oddball dancepop song being as big of a mainstream hit as it is, even if it's one of the more slight offerings from the album. Extra point for the coda, where Billie drops the coy and reminds you how quick she is to put her foot on your neck. [7]

Pedro João Santos: The coda lamentably inverts the light heart of "Bad Guy": the colourful, whispered titillation conjugated with what's left unsaid, a sort of puerile pleasure dutifully translated by the Theremin-esque synths; not the heady, overlong consummation that it unfolds onto by the end. I must say I'm exhilarated that someone knew how to ape "Las de La Intuición" nearly 15 years on, although startled by the fact that it was Billie Eilish the one to do it. [7]

Scott Mildenhall: Done well, it's enjoyable to hear a musician having such fun, but especially so when one unexpected element of a song comes in to underline just how much fun they're having. In this case, it's the gloopy searchlight noise, playing out like the theme tune to a 1970s cop show set in space, in a way that cannot be anything but gleefully goofy. Such bold and playful invention is something pop music would suffer without. Extra points for the consideration to leave a gap before the outro so that radio stations can cut it out. [8]

Iris Xie: I still think this song should've been cut off at the 2:14 mark, because it said everything it needed to say. [5]

Katie Gill: That purposefully obnoxious "duh" sums up what Eilish wants to say more than the rest of the song combined (and is currently in the running for my favorite 2 seconds of 2019 pop music). This image of her as the bad guy isn't serious. It's bratty and playful, more her creating something she can have fun with instead of taking herself seriously. Unfortunately, that something interesting here is buried in a three minute piece that somehow manages to be three completely different songs which never actually coheres to a single whole. [6]

[Read, comment and vote on The Singles Jukebox]

[cherry-interlude]

(Incomplete) Review of Lust For Life

This is the first half of my unfinished review of Lust For Life by Lana Del Rey written on my Wordpress (canwetalkaboutthatthing) which I’m trying to convince myself to finish. Also, all of the written things are my opinion AND I haven’t proofread or anything!

You would only have to know me for ten minutes to discover how much I love Lana Del Rey and her music. Despite the criticisms she has received for things she has said and the glorification of drugs, violence and death, I personally feel there is more to her than that; positives that outweigh the negatives. I feel she is a talented artist - musically, lyrically and visually - and she has a spirit as beautiful as her voice. However, I don't allow this worship of her to halt my own opinions of her music - ones that may differ from the mainstream critics that have already dissected her record - which leads me to this badly-introduced post on her newest album (forgive me, I'm rusty).

When she released Lust For Life this year I felt blessed with her new offering of music - and opinionated. Listening to her album on near-repeat throughout the end of summer and entirety of autumn has given me the chance to pull apart each track and decide precisely how I feel for them. Some I became hooked on immediately - I sang along, I cried and I recognised the familiar 'Lana Del Rey' vibe she consistently has in her previous albums. Others I felt unsettled with, as I couldn't connect to them nor did they have the traditional 'Lana' vibe. Not to say that they're bad songs, nor to say that they are objectively the lesser songs on the album, but in my own personal opinion some were not as favourable as others.

Beginning with the opening track, Love - her first release for the album - I was pleasantly and wonderfully surprised. Whilst it had some new additions to it (directing the song towards her beloved fans, referring to us as 'kids', the pleasant vibe which is rarely seen in a Lana Del Rey song) it still had the familiarity of her vaguely retro music and the lyrics including her favourite "vintage music". It's a beautiful song, easy to get into and gives you a warm vibe. Paired with the futuristic video of shooting stars, floating cars and a beaming Lana, it is a purely joyful and reflective song, paying homage to the fans that, like her, are just young and in love. It's the essence of the majority of her music - to be in love, to fall out of love. Love is a central theme for most of her songs and lyrics. This track takes a positive approach towards it, introducing the album with a lust for life.

This continues into the second single and second track of the album - Lust For Life - her first duet out of the five. It is still Lana with a hint of something new - the familiarity of the doo-wop music and the Americana references to Hollywood go beautifully with her ecstatic joy for life rather than the consideration that we're all really born for death. Once again Lana croons with The Weeknd (previously in Prisoner, Stargirl Interlude and at the end of Party Monster in The Weeknd's albums Beauty Behind The Madness and Starboy) and it's impossible to deny that their voices are made for each other. Both sweet and swooning, silken to listen to, they're a musical match made in heaven, and it makes the line "my boyfriend's back and he's cooler than ever" that much more adorable. Lyrically, the song is about the joys of being with that special someone, seeing the wondrous hope in the world and enjoying being alive, just stripping down and taking off your clothes to only enjoy one another's company - or perhaps "taking off" the serious wall around our true emotions and selves after the worrying events of 2017, an idea that's more believable due to the politically-aware theme of the album. Comparing Lana's almost spoken, low verses with a hint of smiling in her tone to her swooping, sing-a-long choruses, it's another track to make you feel good inside and want to twirl around on the H of the Hollywood sign with the person in your life.

Both of these tracks - happy, and featuring Happy Del Rey - are soon followed by the return of traditional Lana: a cinematic, sweeping opening, a quote from the vintage film (Carnival Of Souls) and devastated confessions of how it hurts to love someone but you can't help yourself: 13 Beaches. Once again, Lana has given us a song to cry over, to lie back and envision the gorgeous imagery she invokes throughout the song - sunlit beaches, dripping peaches and ballroom dancing (as randomly as it sounds). Though it is a song dedicated to the impossibility of being alone when you're famous, and the complicated relationship with fame (loving it and hating it), it can still be taken as a sweet song for a lost lover, and it's these interpretations that make her music on the whole so much more enjoyable for each person individually. It's pure Lana Del Rey, just as brilliant and upsetting as The Blackest Day, Pretty When You Cry or Blue Jeans - though feels slightly disconnected to a real love interest due to the roots of who it's really for: fame.

The fourth track, and one of the shortest, is decidedly my favourite. It's a song that fills me with so much joy as it does sadness that I can't resist it at all. It's a song I frequently listen to and sing along to as there are so many elements that make it so fabulous. Firstly, once again the Lana-isms return: stunning imagery of cherries, wine, rosemary and thyme, and the difficulty in loving a dangerous man who is no good for you. Secondly, the music itself - I think it's a fun and sexy song, especially when you see Lana perform it live - and it makes it that much more enjoyable to sing and dance to with friends. Thirdly, its connection to the previous song: In 13 Beaches, she delicately references to eating "dripping peaches", a stunning image. However, in Cherry, she informs us that her peaches are "ruined". It's a beautiful link, and she has often reused and linked lyrics in many songs before. In this album, peaches, black beaches and summer bummers are recycled in the first few tracks, linking these opening songs together - and connecting them further is the vibe. Moving onto the fourth thing I adore about Cherry is the swearing. Between verses and choruses, and at the end of the song, she exclaims a muffled "Fuck!", and peppers the latter half of the song with "Bitch". It's spiteful and sexy, a comeback that both deals with the emotions and ruin as well as calling out the one who made her snap. The insults honestly make it more fun, especially when you can shout them out loud when no one is around and imagine you're a sneering Lana looking down upon the man who destroyed the things she loved.

White Mustang, the second short track, takes a slightly different turn. Rather than being directly insulting towards the ne'er-do-well, she instead laments over him. He was a big man with a big car, clearly a dangerous man like the one who made her feel as if she was "smiling when the firing squad was against [her]" - the "revving"/"lightening" brings to mind danger and potential damage. It's a gentler song, with a soft piano throughout and slower choruses. This song is definitely a close favourite for me, keeping in line (once again) with recognisable Lana Del Rey imagery (cars/horses) and the dedication to a man she loved who she couldn't keep up the pace with. The switch from white Mustang the car to white mustang the horse is swift and cute, and my favourite part of the entire song is the whistling at the end. It brings along the slightly Western vibe, of a typical American cowboy which contrasts perfectly with the modernised addition of racing car sound effects. I just basically enjoy all these little things - subtle sounds and shifts that only layer it and add to the imagery.

"Summer"/"bummer" was a rhyming couplet in White Mustang and it only foreshadowed her next track (surprise, surprise, Summer Bummer). Her second duet and first of two with Asap Rocky (and Playboi Carti) begins with an entirely different piano vibe - a dark, quick paced throb of built-up energy which Lana flawlessly introduces. It feels big and explodes into a brilliant track starring Rocky in the second verse and in the backing vocals, but Lana has her own way of rapping: delicately listing "white lines and black beaches and blood red sangrias" to give it the summery vibe. This hip-hop track feels guided away from the usual Lana Del Rey but it's fresh and cool as a summer salad cucumber, her lazy vocals woven with her wavering warble towards the end of the track. It's not my favourite and I often prefer to skip Rocky's part (sorry) but it's still a great track.

Locky return with Groupie Love, my most likely close second on the album. I have to take a moment to mention how much I adore this song: the first time I listened to it, and most of the times following, I cried. I find the sweet lyrics, the gentle, bubbling music and the adorable, adoring tone so overwhelming. In some ways it's a parallel to White Mustang: both songs repeat their title over in the chorus, though whilst White Mustang sounds unhappy and longing, Groupie Love sounds radiant. It's a song that chokes me every time and returns to the theme of the follower of a brilliant man but this time rather than losing him or yearning for him, he returns his love to her. Rocky is sparkling on this track, his rap more low-key than his previous song, and their voices together remind me of the National Anthem video - the kisses they blew and the way they held each other as Jackie and John F Kennedy. The sweetest moment? The way they both sing "You and I, til the day we die." Lana and Rocky have sung together before (obviously on Summer Bummer but also on Ridin', an unreleased track) and they compliment one another wonderfully. Where The Weeknd and Lana share a similar voice that can drip like honey, Lana's lighter vocals oppose Rocky's harder, deeper tone, but it's just as beautiful, especially in a track so cute.

This to me is the where the best part of the album ends - seven strong tracks, definitively Lana Del Rey, each of them some of my favourite songs. When In My Feelings begins, I feel like the record takes a slight nosedive. In My Feelings is a song that I always feel is out of place. It doesn't feel quite like something Lana would sing to me, and whilst I understand she may experiment with styles and it's a song many fans favour, I can't connect with it. Does it have her smokey, filtered vocals? Of course, and they're as pretty as ever. Does it have the incredible imagery? Definitely: cigarette smoke, guns and coffee to name a few. However, it feels sort of empty, not quite with the rest of the album. It's a strong song aimed at a certain someone, warning them that she may be a beautiful rose but she's anything but delicate, unafraid to get her thorns out, and I can't say I don't enjoy the "tough bitch" she is expressing. But for me it just falls flat and doesn't quite feel right, especially when the bridge becomes a messy demonstration of her high notes that make it difficult to hear the lyrics. It's not a bad song but it's not the best.

Coachella - Woodstock In My Mind. I've been debating about this track for a while in all fairness. It has its positives but also its unmissable negatives, and usually I just skip the track rather than debate with myself whether or not I enjoy it as much as most of her other work or not. The message is excellent, where she sings of festivals and wondering about the future generations, and I like how Lana is taking the opportunity to use her music as a message to her impressionable fans - and get them thinking too. However, it doesn't feel quite polished and finished, the trap beats too heavy and the chorus a bit messy when it layers with several vocals. It feels like a hurried track, not yet ready for release out of production. I will say though, it did have heightened meaning to me following the Manchester terror attack this year, and after the tragic event occurred I found myself listening to Coachella at a whole new angle. I just can't consistently get into it as a song itself, nor can I relate to it.

God Bless America - And All The Beautiful Women In It is yet another song that just doesn't feel right to me. I'm not saying it's bad - it's quite beautiful - but it doesn't have the same vibe that made me fall in love with Lana's music a few years ago. Of course, she changes over time, and experiments, but to me I can't quite feel like I'm listening to a Lana Del Rey album. This is the point where you take the first few tracks and realise it doesn't sound anything in the same line as them; the music itself is different, a gentle guitar strum that brings to mind ABBA each time I hear it.

To be continued

I do love all of her music but this is an *attempted* non-bias, objective (ish, it hasn’t worked, I still gush about her) review of her music from my opinion.

UPDATE: -> Complete review <-

[axtogymnastics]

In Which V Is Icarused (Maleficented?): BTS’ Blood, Sweat and Tears Analysis Part 1

        BTS has recently shown great growth and maturity as artists. Maknae Jungkook is only 19, the group is only three years old, yet their most recent album “Wings” has reached #26 album on Billboard, all-killed Korean music charts and more. It has also won BTS their first Artist of the Year Award!!! Not to get all gross and punny or anything but they really put their blood, sweat and tears into their music and deserve all that and more. And so, it is with great honor and pride that I dissect this MV.

From left to right: V — The Fallen Icarus

Suga — The Artist

Jin — the Flying Icarus

Jungkook — Tempted Youth #1

Rap Monster — The Adult

Jimin — Tempted Youth #2

J-Hope — The Independent Youth

The MV is full of artistic and literary references, such as the quote from Demian by Hermann Hesse at 4:03, as well as paintings, sculptures and even philosophy on the central theme of temptation. In particular, the MV can be viewed as retelling of the Greek myth of Icarus. Icarus’ father gave him a pair of wings, solely for the purpose of escaping their island prison, and warned him not to fly too close to the sun at the risk of melting the wax that bound the wings together. Icarus was so tempted by the idea of flight that he soared upwards anyway, where the wax melted and he promptly drowned in the sea. In “Blood, Sweat and Tears,” flight represents the search for transcendence through art, sensual pleasure, knowledge, and independence. Although Icarus falls, BTS says that giving in to temptation can produce growth and beauty as well.

              Flight and temptation are represented by two paintings of Icarus in the MV. In the first painting, Landscape with the Fall of Icarus by Peter Bruegel, Icarus’ death is rather anticlimactic; the most we see of him in the painting are his feet sticking out of the water beside a boat. In the video, he isn’t seen at all. The message seems to be that flying isn’t that exciting and provides only brief respite. V doesn’t seem to care, looking quite happy as he jumps off the balcony in front of the painting. The second painting, Lament for Icarus by Herbert Draper, appears behind Jungkook, who floats once in the air and once on a swing, his body mirroring Icarus’. Icarus is featured in the painting’s foreground and the nymphs almost appear to be worshipping his dead body. His death is dramatic and produces great beauty.

               The main character of the MV, Jin, represents the latter approach to temptation as he searches for spiritual flight. He can be compared to the protagonist of Demian , Emil Sinclair, a similarly conflicted youth who wanted to remain in the bright world of proper Catholicism, but is tempted by the dark world of “beautiful and scary, wild and cruel things” such as alcoholism, pain, bickering women, and death.

           Like Sinclair, the theme of light versus dark surrounds Jin. In the opening scene of the MV, Jin stands in a museum, captivated by The Fall of the Rebel Angels by Peter Bruegel, a painting depicting a battle between angels and demons. To his right, a white door leads to the world of childhood and innocence, while the black door leads to the adult world; this black-white motif was also seen in BTS’ WINGS short films. Jin wears white, symbolizing purity and innocence, but the chaotic painting between the doors suggests Jin’s desire to know more. In Demian , Max Demian suggests to Sinclair to accept both worlds. When Sinclair has a mysterious dream about a hatching bird, Demian tells him, “The bird fights its way out of the egg. The egg is the world. Who would be born must first destroy a world. The bird flies to God. That God’s name is Abraxas.” The deity Abraxas is a combination of good and evil, God and the Devil. For Jin, his temptation is a spiritual connection to both worlds. He is the young hatchling who must first destroy his egg before finding Abraxas.

               In the quote at 4:03, Sinclair is already irreversibly acquainted with the dark world, just as Jin has already lost his innocence, represented by the release of the helium balloon. The Abraxas figure he ends up finding is the kneeling statue with black wings in the art museum. The statue appears to be of an angel yet its wings, to quote the song’s lyrics, “are those of a demon.” At 5:37, the statue’s blood, sweat, and tears are shown to be multi-colored paint; its very essence is chaotic yet creative. Jin no longer wishes to distance himself from evil, and the statue is so beautiful and alluring that he can’t help but kiss it, connecting himself to this Abraxas-like figure. Much like the kiss Demian gives Sinclair at the end Hesse’s novel, this scene represents Jin’s departure from his prior youthful, unaware state.

Jin then walks to a mirror, above which appears Friedrich Nietzsche’s quote: “You must have chaos within yourself to give birth to a dancing star.” The white lilies– a symbol of purity–appear purple in the reflection, the white background appears black, and Jin’s reflection cracks. This represents an internal change; Jin is no longer the innocent youth. This loss is also foreshadowed earlier, at 2:33, where Jin appears to be Jesus sharing a last meal with his apostles. Sitting in a garden, they eat apples, the fruit of sin and temptation. Jin’s innocence may “die,” but he becomes something greater in the process. The artistic references convey that “falling,” or giving in to temptation, is a necessary part of the maturation process.

               Although Jin’s Icarus tale deals with transcendence and growth, another version of the story is told in parallel. V portrays a more devilish Icarus, a naïve and ambitious youth whose ignorant pride and desire led to his literal downfall.  Chaotic and mischievous, he smiles as he jumps off the balcony in his PJs, like a child playing superhero, and he playfully covers Jin’s eyes before revealing the statue. Oh, and he has rainbow blood. Just as Icarus wanted to fly to the sun, V just wants to have fun and leave the boring, everyday world behind. V meets with the consequence of his childish attempt to fly–two scars in place of his wings. In his WINGS short film and the HYYH series, V is somewhat forced to grow up, but in this MV he arguably remains young. The loss of his wings is a painful punishment, but V’s smirk shows that he is down but not out. It is a proud, “I’m-still-beautiful-even-without-my-wings” smile, but with a notably devilish undertone. 

               V and Jin’s scenes stand for the two main ideas: flight as a mechanism for enlightenment and growth, and flight as dangerous temptation resulting in one’s downfall. In the next post, we will explore how flight and temptation are portrayed by the other members.

In the words of the Great and Wise Kim Namjoon a.k.a Rap Monster from BTS:

Part Two Here: https://axtogymnastics.tumblr.com/post/156738173383/in-which-rmjk-warn-against-drugs-bts-blood

Extra Tidbit: Does it seem like the statue is taking off or landing? I believe it is both, for its posture resembles that of a superhero. Even so, if it were landing it would be taking off soon after, so I see no contradiction with the overall theme of flight vs fall.

Major props to the user below, the video helped so much in writing this post.

http://www.youtube.com/watch?v=GzS5g9UldGY&t=6m6s

[maiathebee]

Comprehensive Bibliography Of BTS

This is just a list of material referenced, alluded to or related to BTS’s concepts, music, photobooks, albums and music videos.  This is not a fan theory, or an attempt at one! Anyways here’s the precursor to my scholarly paper, lolllll (I’m not joking though).  I’ll update it as we goooooo....

Also, I know almost nothing about the School trilogy, but it’s my understanding that there’s not a lot of outside source material.  I could be wrong though.  Does it reference mangas and stuff??? send me a msg if you know.

(just a reminder that while BTS is remarkably involved in the creative direction of the group, the formation of a kpop groups’ era/concept is made by a large team of people, and therefore the members probably haven’t even considered or explored upwards of half the material on this list).

(asterisks mean that these works are not directly referenced by BTS in their interviews, lyrics or imagery, etc, but which are still tangentially related)

BTS book club list is as follows:

Shim Cheong - a Korean Panseori tale (Dark and Wild)

Demian by Hermann Hesse (Wings)

Seven Sermons to the Dead by Carl Jung (Wings)*

The Collected Works of CG Jung by Carl Jung (Wings)*

Thus Spoke Zarathustra by F. Nietzsche (Wings)

Beyond Good and Evil by F. Nietzsche (Wings)*

The Ones Who Walk Away From Omelas by Ursula K Le Guin  (YNWA) 

The Moral Philosopher and The Moral Life by William James  (YNWA)*

The Brothers Karamazov by Fyodor Dostoyevsky (YNWA)*

Le Transperceneige by Jacques Lob (YNWA)

Then here’s the film club list:

She and Her Cat (dir. Makoto Shinkai)(short film) (HYYH pt.2)(this is according to Bang PD)

Lost River (dir. Ryan Goslin) (Young Forever)

Big Fish (dir. Tim Burton) (reason here)  (YNWA)

The Helpers/No Vacancy (dir. Chris Stokes) (YNWA)* (tbh this seems fairly coincidental to me, which is why it gets an asterisk.

Snowpiercer (dir. Bong Joon Ho) (YNWA)

BTS music playlist:

Wild For The Night by A$AP rocky (Dark & Wild)

Friday Night Lights by J.Cole (Dark & Wild)

2001 by Dr. Dre (Dark & Wild)

花樣的年華 - Zhou Xuan (HYYH pt.1/pt.2)*

Nevermind - Nirvana (HYYH pt.2)

Wasted Youth (HYYH pt.2)

Wish You Were Here - Pink Floyd (Young Forever)

Passacaglia in D minor (BuxWV 161) - Buxtehude (Wings)

You’ll Never Walk Alone - Louis Armstrong (YNWA)* (100% this isn’t a purposeful reference, but it’s a good song, y’all should listen to it)

BTS’s art history class bibliography:

Julius Caesar on Gold by Basquiat (Young Forever)

Tricycle by Basquiat and Warhol (Young Forever)*

Orange Sports Figure by Basquiat (Young Forever)

The Fall of the Rebel Angels - Bruegel the Elder (Wings)

The Landscape with the Fall of Icarus - Bruegel the Elder (Wings)

The Lament for Icarus - Draper (Wings)

La Pieta by Michelangelo (Wings)

Personnes by Christian Boltanski (YNWA)*

Further Analysis (and more fan-theory type stuff) in chronological order,  under this read more~~

I’m not sure there’s meant to be a single “correct” reading of the group’s narrative or story. Even in Wings, which drew its story fully from Demian, the ultimate narrative of the BST M/V is more vague.  While there might be a complete and overarching narrative that Bighit is trying to create with Bangtan’s concepts/mvs, I think it’s more likely that there are a lot of narrative threads running through the story, and some are maintained longterm, some are relevant only to as specific chapter, while others are merely aesthetic/cosmetic.  I have a feeling that even longterm narrative ideas are sometimes allowed to fade away for the benefit of moving the story forward at the pace they want. 

Dark and Wild

Shim Cheong is just a throwaway simile on hip hop lover.  I’m pretty sure it’s a reference to the idea that seeing Shim Cheong again allowed her blind father to gain the ability to see.

References like the one to Wild for the Night on hiphop lover (they also tweeted about the song back in 2013) don’t really do much except show that they genuinely like/listen to American rap and also it explains at least 66% of the dumb mistakes Rap Monster has made, probably, my poor problematic child.  Hip Hop lover references a ton of artists, but I just included the ones that are mentioned by more than just name.

The Most Beautiful Moment In Life (pt.1/pt.2)

Zhou Xuan is the first media reference point for HYYH (花樣年華)(It’s what the Chinese title for In the Mood For Love is based on). The lyrics refer to forgotten dreams.

Wong Kar Wai’s In the Mood For Love (花樣年華) is not listed, as RM mentioned in the interview that this was not associated with their album. 

Notes of a Desolate Man by Tianwen Shu is excerpted in a Taiwanese literary anthology by the name of  花樣年華, and I though think it relates thematically, it’s merely my own personal association~ There’s no indication that BTS or Bighit even knows it exists.  Tianwen Shu is greatly influenced by Lu Xun, who wrote the anti-confucian societal norms novel, A Madman’s Diary. 

Nirvana t-shirts are a go to for BTS’s stylists, probably MOSTLY because they fit their preferred grunge image, but the word “Nirvana” fits well into the ideas of tragedy/death, utopia/dystopia and idealism that BTS plays with, while Nirvana the band is obviously a good reference point for realistic portrayals of youth culture and music which speaks to young people, particularly the crazy popular Nevermind (ahem Yoongi’s intro song) with Smells Like Teen Spirit and Come As You Are.  (further fan theory here)

It’s crazy to me that Bang PD found inspiration in a five minute anime about a cat, but read the wiki summary and you’ll believe him:  “When it's over She cries and becomes depressed. Chobi does not understand what the conversation was about or what happened but concludes that it was not her fault. He stands by her and comforts her. Time goes on and it becomes winter. She continues going to work and moves on with her life. In the end Chobi and She are happy with their life together and say in unison, 'This world, I think we like it.’”

Fire (Young Forever)

Pink Floyd’s “Wish You Were Here” thematically deals with youth/nostalgia (Shine On You Crazy Diamond: "Remember when you were young, you shone like the sun").  It includes critiques of the music industry and the cliches that the group had to deal with.  The narrative of Wish You Were Here is very much in line with Bangtan’s overall group narrative.

Lost River (a phrase you can see on a wall in the Fire M/V) is a film about a poor community, and specifically a mother and her two sons, going through crisis.  The film includes a scene of a party in an abandoned high school and ends with both a house and a car on fire. The film has an open ending which leaves room for an improved future, but the film is primarily about the limited possibilities and opportunities

As far as I can tell, the “Basquiat” paintings in the fire M/V are just imitations rather than references to specific paintings.  They’re probably being used just as an aesthetic choice - Basquiat’s art was a synthesis of street art, outsider art, social commentary and post-expressionism.  However, his life is also relevant narratively: he died young at 27 and he first gained fame as a graffiti artist.

I’m not putting it above because the film is super inappropriate, but the phrase “enter the void” is used in the Run M/V, and could refer to the Gaspar Noe film of the same name.  The title of that film is, in fact, a reference to The Tibetan Book of the Dead.  However, the term “void” (and the images of the void in the M/V) could just be a reference to five elements in Japanese Buddhism (including fire), particularly the Book of Five Rings.  But this is me getting uber fan theory, lol.

Another graffitied phrase in the Run M/V is “wasted youth.”  This could be one of three things; a reference to the hardcore punk band, Wasted Youth, an allusion to Fast Times at Ridgemont High which also includes a scene featuring “wasted youth” graffitied on a wall, or the phrase isn’t an allusion, but merely a description of the M/V concept.

Wings

The relationship to Demian needs its own post, so I won’t even go into it itself, but the tangential references it spawned are as follows:

The paintings in the Wings video are all in reference to Demian but are also all biblical/mythological in nature, based on the book of revelations, Ovid’s The Art of Love,  and the crucifixion.  The religious references, however, are dulled down -- Jesus is not fully sculpted, leaving him to be a vaguely carved form and allowing the image to stand more as an allegory for the relationship between mother and “son” in Demian.  (some further fan analysis of the art here)(and more specifically on the use of icarus).

The Passacaglia is also a piece which is referred to in Demian in the part of the book where the narrator begins to find spiritual fulfillment through music and art, something BTS talks about a lot.

Demian draws lot from Carl Jung, particularly his ideas about symbolism, archetypes and psychoanalysis.  The book specifically alludes to Jung’s Seven Sermons, and the idea that Abraxas is the ultimate being, uniting both god and the devil.  Thematically, through Demian, this deals with themes of forming ones’ own moral code, and ideas of will and strength of character, with good and evil being both at odds but also simultaneously part of everything. This theory/concept in largely influenced by Nietzsche, most especially his Beyond Good and Evil.  Together these are all philosophies which pull away from the ideas of societal norms or strict social structures and place a premium on personal/creative expression.

Thus Spoke Zarathustra (quoted in the Wings photobook and BST M/V) also furthers this idea that good and evil are “a wheel.”  It posits that Truth (not morality) is the highest virtue and that idealists flee from reality (SEE: Icarus).  The novel also introduces the idea of the overman, which is a gross idea and super problematic, but I can it being applied thematically to BTS as the idea of a ‘fully realized self.’  Zarathustra is a figure Nietzsche borrowed from Zoroastrianism.  (this writer has more ideas on some connections to Nietzsche).

You Never Walk Alone

“Omelas” and the theme of walking obviously references the Le Guin story, which is inspired by the William James essay, which in turn borrows ideas from Dostoyevsky.

Namjoon’s reference Snowpiercer plays into the video’s visual narrative (an inescapable cycle, the train, the cyclical nature of seasons, laundry is a cycle [2mjjk theory speaks to all these, lol]) as the story is about a train which circles the globe, in a world stuck in perpetual winter. Unlike the more environmentally-focused graphic novel, Snowpiercer the (korean-directed) film is intensely focused on class inequality, a theme which runs through BTS’s albums (see particularly Baepsae, but it’s a concern relevant to their School series, since most pressures put on students are related to social class) and which is of incredible concern to Korean people, and therefore is a common concern of a lot of Korean art.  Bong Joon Ho’s other film works are all very heavy on social commentary  (the host deals with the american military and politics/activism, sea fog also talks about social inequality... etc...), so referencing one of his films is a pretty clear statement that you are making a critical commentary on something.  Like the Le Guin short story The Ones Who Walk Away from Omelas, the film is about a dystopia in which the upper class/middle class/general public is reliant on the continual suffering of another (in this class the lower class or last train) to survive.  Trains provide a very easy metaphor for class given their class divisions into separate carriages.  This was also applied in another Korean blockbuster from the last year, Train to Busan (dir Yeon Sang-ho), which included some pretty transparent commentary on the negative effect that an apathetic, self-serving, lazy (male) middle-aged, middle-class could have on the survival of families and younger generations.

Most fan theories agree that the clothes in the M/V are a reference to the sewol ferry disaster.  Here is the fan explanation for how that connects to Boltanski’s Personnes.