#who consistently reference band lyrics

[z0mbiefrank]

MCR5 Theory: Secretary Gerard is a character called The Widow

I'm unsure if everyone is thinking along the same lines, but I have yet to see anyone talk about it, so I've put together this post with evidence and links. (this will expand on the 9/11 theory. also special shout out to @autistme who made a spreadsheet with all the aus eagles lyrics) MCR performed Eagles at all six Australia shows this tour. At five of them, Gerard was dressed in a grey suit and skirt, commonly referred to as the secretary or office lady by fans.

(📷 Dough Peters) Here's a quick reference table for the things I will be talking about here. (Not necessary to read, I will explain it all)

At Brisbane, the drumheads read "everything under control" followed by "here comes the airplane". The planes have yet to hit the towers, but disaster is imminent. Eagles has evolved a lot over the tour but the Aus dates heard a new consistent change in the first verse.

All along the river bends All along with all my friends Yes, all around the river bends All together with my friends

There is minimal change for Brisbane 2. Notice how gerard is dressed as the secretary and says "my friends".

Next comes Melbourne 1. The drumhead reads "TErrOR". The plane has hit and there is a dramatic change to the first verse.

All night long the widow sends Valentines to bitter friends Yes, all night long the widow sends Valentines to all my friends

This character with friends now has a title, and it is The Widow. She has lost her husband in the attack. Her friends survived and she is sending them letters of love during this terrible time.

Melbourne 2, Gerard breaks the outfit chain. He is wearing jeans and a t-shirt, there is no hint of office wear, he is no longer playing the widow, he is playing himself. The drumhead also seems unrelated to 9/11 "BARK BARK BARK". They sing the same first verse as the previous night with minimal change, except for the last line

Valentines to all her friends

This is the only instance where Gerard does not refer to the friends as "my friends" at all during aus eagles, and it is because they weren't in the skirt suit that night, they were not the widow.

Next comes Sydney. The Widow is back and she's covered in blood! Something awful has happened to her, she's dying. But the drumhead reads "UNKILLAbLe". (This was written by Frank, an extremely powerful thing for him to do considering his accident in Sydney and PTSD. MCR has always used concept albums as a vessel to speak of things the band has been through.) The widow continues to write her letters during eagles despite the blood on her face.

(📷 Jess Gleeson) Sydney 2. The Widow again. She is in the exact same outfit, down to her boots (sports mode), but this time she is not only covered in blood but her eyes are WHITE. She is dead! The drumhead now reads "Unkillables", this is no longer specifically just one, but multiple people. It could be mcr as a band, mcr as individuals, or mcr fans themselves. In the context of a concept album, unkillables can take on a whole new meaning. It brings to mind the supernatural, ghouls, vampires, werewolves. How is it that the widow is dead, yet she is walking on stage right in front of us? Staring at us with blank eyes on the big screen? Is she a ghost, a zombie? I'm not sure. But she is still the widow. Even in death, she is searching for her husband.

(📷 ashymcr , expiiredglitter)

Which leads me to Summertime. The piece of evidence that drove me to write this long-ass post. As we know, it is a love song about Gerard's marital partner. Before they played, Gerard spoke in a breathy and musically haunting voice "I'll find you. I'll find you. come find me." Definitely something a lost and ghostly widow would say. They also bring out a white handkerchief, they do not have it in any other songs. Throughout the performance, Gerard clutched it to their chest repeatedly and held it lovingly in both hands.

In the third picture, he is looking down sadly at the handkerchief singing the line "If you stay, I would even wait all night." (video)

This is very clearly The Widow. She is mourning her husband, she is dead, lost and searching for him. Perhaps the handkerchief is all she has left of him, or it is simply to dry her tears, but she is clearly in mourning for her marital partner.

And finally, Eagles at Sydney 2. The first verse stays the same except for the third line. "Yes, all night long the widow sends" becomes

Yes, all day long the widow sends

She is writing night and day. She does not rest. Her outfits in Sydney are exactly the same. Every single other secretary's outfit is subtlely different, but now she is dead, she is stuck in the same clothing like a ghost. The Widow also makes an appearance later in the song.

We found the widow And hit her with a baseball bat

I have less ideas of what this could be about, but I think if some dead lady was walking about being unkillable, people would get freaked and attack her with a baseball bat. The concept of "unkillables" is something I could write a whole other post about but I'll spare you for now.

To conclude, I think The Widow as a concept album character would fit right in with MCR. They are no strangers to lovers separated by death. Others on here have spoken on how the feminine outfits Gerard has chosen this tour have often been of women scorned or living in the shadows of powerful men. I believe The Widow would fit right in. Even after her husband has died, she is only talked about in reference to him. She is The Widow, something that tells us more about her husband than herself.

[the-90s-music-colosseum]

Round 4 Match 9

propaganda below the cut! (enormous wall of text warning)

Trent Reznor:

"he is everything. he is all that exists around us. he is the air which we breathe. he performed covered in mud at woodstock 94 and somehow made it work. he's largely responsible for arguably the most influential concept album of the 90s. he is beautiful and sweet and stunning. i want to study him under a microscope. i know closer is about sex as a self-destructive behavior but also have you seen how insanely gorgeous he looks in the music video? in the words of my friend, "he sings like he's in heat". he literally humps and destroys synths (in a variety of ways, including stripping the keys off with his boot) during performances. every single outfit he wears is extremely cunty. on multiple occasions guys have said that even though they're straight they would fuck him. finally, in the words of jude doyle: "to this day, looking at a photograph of trent reznor in the early '90s feels like looking into the sun""

"The live March Of The Pigs (1994) video makes me froth at the mouth I start biting and snapping my teeth and growling. I need to rewatch it five times a week at LEAST to stay sane. Trent Reznor is like if a trophy wife was a man. Also the way he WHISPERS INTO THE MIC AT THE END OF SUCK?????HHFSJBDNDNS???? THE ENTIRETY OF THE BROKEN EP????????? Cleanup on aisle my fucking pants. Is this too insane? Sorry"

"I’m a lesbian but that does not fucking mean anything when confronted with trent reznor"

"It's Trent, man. Even the literal devil wants him. He's just boypretty."

"This man deadass wrote a song with the lyric “My moral standing is lying down" in it"

Jonny Greenwood:

"Every art girl's (and boy's) wet dream"

"He wrote the tourist. That's all you need."

"Repeat from my Thom propaganda but he was a part of it so anyways. I had a dream once where I met him and Thom on the street and asked them to sign my Pablo Honey CD, so Thom pushed me into open traffic and I got hit by a car and died and Jonny laughed his ass off. 10/10, my last sight before death was his beautiful face laughing."

"I could probably snap him like a twig but I want to marry him and have 3 children with him before I do that"

"Choose Life. Choose a job. Choose 1/5 of Radiohead. Choose 1/5 of In Rainbows. Choose the man who wrote weird fishes, both Greenwood sisters ,the man in South Park, his telecaster and the stickers on it. Choose the bug Jacqueline Kennedy, his love for literature and poetry, and his lovely lisp. Choose his sublime score for Phantom Thread and his husband Paul Thomas Anderson. Choose the weird amount of straight men who thirst over him in the YouTube comment section. Choose his jawbone. Choose the most pretentious, unpretentious member of the band. Choose his silky hair and his (probably) Dove shampoo. Choose his great knowledge of music theory and how he often disregards it. Choose Astroboy's biggest fanboy (minus maybe Thom. Choose a very hot Alex James who eloped with a fish. Choose Jonny Greenwood. Choose your future. Choose life… Involuntary Trainspotting reference but please vote Jonny over Wario. Oh, and( even though Jonny lives in Italy at the moment), I live in Oxford and if I meet him, I'll tell him that he won."

"He keeps chickens guys, CHICKENS"

"I'm a straight guy but no joke Jonny is hot tbh maybe it's cuz he looks like a chick but like damnnnn"

"He's so gorgeous....kinda like an ant 😍😍😍😍"

Mike Patton:

"Mike didn't consistently wear BDSM masks matched with boiler suits and lick Trevor Dunn on stage just to lose this bracket. Also, if you don't think he's hot in every which way, you clearly haven't seen this: https://youtu.be/gjEbHBafvm0 or this: https://youtu.be/i9_hCjcFNO0 or this: https://youtu.be/Kfq7wHJu21c"

"Mike Patton collaborated with basically everyone who's anyone in music, and he speaks Italian too. He's great in a live show. And Mr. Bungle is unmatched and unparalleled, full stop."

"HEE HEE HOO HOO HA HA FUNNY WHITE MAN SCREAMS IN MY EAR AND BUSTS IT DOWN SEXUAL STYLE"

"I'm a lesbian but I find him insanely attractive which I think says a lot"

"whenever mike arches his back and screams a part of my soul leaves my body and is shattered by the soundwaves."

"all you need to do to love mike is watch this: https://youtu.be/0gq_Jn41iMM&t=1375 the fact that he blurts that out and then super casually goes into the song leaves me crying with rage and hormones every time I see it"

[spellboundbat]

Bullets & the Demolition Lovers

Hello everyone! Welcome to my analysis of the wonderful album 'I Brought You My Bullets, You Brought Me Your Love' by the band My Chemical Romance. This analysis consists of my interpretation of each song on the album, as well as the relationship they have with the Demolition Lovers. This is a project I started in the summer of 2023 as a way to better understand the story of the Demolition Lovers, whom I have loved since I proclaimed myself a fan of the band in 2021. It all began with a few videos on YouTube about Revenge (which I will recommend down below if someone is interested). I already knew the story of the Demolition Lovers, but only at a surface level. The videos introduced me to a deeper and more complete version of their story. This also opened the door to all the contradictions, theories, and interpretations that came with this story. I was so captivated by all of this that I decided to delve into this deep rabbit hole and create my own interpretation of the story, and that's how this first analysis was conceived (because there's still left Revenge's). This is a way to better understand this artistic product that I adore with all my heart and also to better comprehend the masterminds behind it. I hope you all enjoy it, both fans of the band and new people interested in this whole new world ♡ ☆SPANISH VERSION: https://spellboundbat.tumblr.com/private/738189905537220608/tumblr_3qij8SfTzrPPDo1BE

Disclaimer!

Although I will be providing verifiable sources with my statements (as well as clarifying when they are not 100% reliable), I will also be discussing subjective interpretations of the majority of the songs, which may be based on interpretations commonly accepted by the fandom or the artists, but that are ultimately guided by what I consider :D

Sources can be found throughout the entire analysis in keywords related to what is been talked about.

Sorry for repeating the word "song" 86 times, really, please accept my most sincere apologies.

This analysis is quite chaotic btw.

1. Romance

There's not much to analyze in this song. It's the album's intro. It barely lasts a minute and has no lyrics. It's an instrumental with a Spanish guitar played by Ray Toro. The song is a kind of adaptation of an even older 19th-century song called "Spanish Romance" or "Romance Anónimo" (or a thousand other names, there are too many names for this song).

Allegedly, the original piece appeared in the soundtrack of the movie Dawn of the Dead, and thanks to this, they included it here (the movie is very relevant to this album and to Gerard Way; it's one of his favorite movies, and later in the analysis, we'll notice more references). Now, I say 'allegedly' because I couldn't confirm this information. I found a group of people on Reddit talking about it, and even though I searched for the movie and the supposed time-stamp, I couldn't find it. But I trust the fans :D . So, we leave this information here.

2. Honey, this mirror isn’t big enough for the two of us.

Finally, let's begin, and with a quite strong one...

The narrator (our protagonist) begins by narrating his problems with alcohol and drugs, indicating a strong dependence on these substances. He also explains other self-destructive behaviors and routines, apparently he has been hanging out with ''friends'' who are not much of a good influence, a possible reference to vampires (we will touch on this topic later). In response to all of this, he states that this has been the life he has chosen and that he doesn't care about anything else anymore.

In addition to explaining all of this, it is implied that what he is narrating is part of a discussion with his partner, who does not seem to agree with his self-destructive behavior. They have many fights, and it's possible that this has become normal in their relationship.

Throughout the entire song, the protagonist keeps repeating these verses, but that seem to be antitheses of each other:

“And well, I find it hard to stay With the words you say Oh baby, let me in Oh baby, let me in’’

and,

“And you can cry all you want to I don't care how much You invest yourself in me We're not working out (we're not working out)’’

It's strange; these are two verses that come one right after the other, but nonetheless deliver two contradictory messages, right?

In one, it explains how, despite the pain caused by what his beloved is saying, he wants to enter and continue being part of her world, to continue the relationship. While the other has a tone of indifference, apathy, and insensitivity, revealing that no matter how much she tries, their relationship is not working.

But I feel that it is precisely these contradictory feelings that make this song so unique, soul-crushing and personal.

The protagonist's feelings are NOT coherent, and neither is his relationship. It's a turbulent relationship, just like everything else in his life.

After having dived into the vast world of super abusive couples (help), I started to notice that these kinds of strong and yet contradictory feelings are often recurring patterns. These relationships are not famous for their stability and coherence but for their explosiveness and codependency. I feel that this is what is explained here.

Our protagonist's life revolves around these themes: codependency and destruction, whether in his personal relationships or with what he consumes and the decisions he makes.

I forgot to mention that his beloved is cheating on him with his friends and HIS BROTHER, fjskahfsjkdhfjsdf...

But well, after so much elaborate analysis, we have the real and simplest interpretation from the author ¯\(ツ)/¯:

“This song is about sucking dick for cocaine.” Gerard Way, 2007

YOU'LL HAVE TO TAKE IT AS CANON, OK? ok...

3. Vampires will never hurt you

It's one of the first songs I heard from this album and one of my all-time favorites (for obvious reasons, *cough, cough* VAMPIRES *cough, cough*). And IT'S AMAZING, but kind of complex. I put a lot of effort into my draft analysis :D

ॐ ☆＊☆＊☆＊☆ ॐ

First, I would like to explain what the concept of "vampires" means in this album.

The vampires serve as a metaphor for toxic people in your life, bad influences who are only with you to take advantage of you. They are greedy and traitorous. This metaphor is not only explored in this album but in various eras of MCR (up to the present day :D !!!).

I mean, how could you not use vampires? They're very cool. According to a quote from an interview talking about 'Headfirst for Halos', Gerard says:

“That song [Headfirst for Halos] and ‘Vampires Will Never Hurt You’ both gave us a real sense of identity. They brought in the entire gothic thing. It was those songs that made people think we were a vampire band!”

And, being completely honest, that's very real. It happened to me too. That was one of the main reasons why I started liking this band djfksjdfkldsaf. LIKE, JUST LOOK AT THIS:

THEY WERE DRESSED AS VAMPIRES FOR THE OFFICIAL VIDEO!!!!

it looks like he doesn't even get old *sus*

TAKE A LOOK AT 2022 GERARD FCKING WAY. DARE I SAY, ICONIC. DID I FORGET TO MENTION THAT THE DUDE'S 46 YRS OLD?!?!?!?!?

...

Well, I've digressed, but we're back now...

Now, what happens in this song is as follows:

The story is once again set between a protagonist and his beloved.

He starts by telling his beloved that if "they" catch them, she should pierce his heart with a stake. He then wonders if the sun will tear their skin and if he will watch as the vampires rip her apart while biting and tearing their necks with their white and sharp fangs. He then desperately asks to be taken to a doctor or a church to extract his "poison" while begging his beloved to protect her own soul and, if necessary, to drive the stake through him.

I know all of this is too much, but don't worry, I'll explain it now.

For those who don't have much knowledge about vampires, everything narrated here are classic references to the stories of these beings.

First, the stake through the heart is a way to end vampires, which suggests that our protagonist has become one or is on the verge of becoming one (MEGA IMPORTANT FACT!!!). It is also mentioned how the sun is lethal for vampires (in most cases, because there are cases where they come out like a damn shiny Twilight vampire), and if humans find them and turn them into vampires and leave them in the sun, they will die.

Among other references, it is implied that both of them will die if she does not end it with him as soon as possible, as the monsters will only harm her if she stays with the protagonist.

In theory, that's what the song is about. It's like a classic horror story, with nods to our favorite blood-sucking monsters and it seems to end in tragedy (love it tho).

However, it gets more complicated and even better...

What I just described is the literal interpretation of this beautiful song. This song, like any form of art, can be analyzed literally (through text) or metaphorically (with interpretations and analyses of subtext, among other things). As I mentioned in my disclaimer, this is my interpretation of the song, based on the data I could gather and what I feel it conveys to me specifically.

Do you remember the meaning that vampires carry? Well, this is where the concept is going to be explored.

Our protagonist (similar to the protagonist of the previous song) has been hanging out and befriending these "vampires."

This is suggested by the line:

“We're hanging out with corpses, And driving in this hearse’’

Here, we confirm that vampires are not simple enemies; the protagonist had decided to hang out with them.

And it comes with its consequences; this has caused him a lot of harm, so much that it begins to affect his beloved.

[That's just like The Lost Boys (GREAT movie btw).]

He doesn't want her to end up badly, and she wants to fight for their love. She wants to help him so that they both get out of this problem together. That's why the song says:

“They come in pairs she said, "We'll shoot back holy water Like cheap whiskey, they're always there" ”

He feels remorse for his actions, wants to be purified, thinks about his love for her, how much he loves her, but he knows it's too late. He has also become one of them—a vampire. In our metaphor, this represents a turbulent and toxic person, which is the real harm he will do to her if they don't distance themselves. She would also become a self-destructive person, and both will end up digging their own graves.

But he doesn't want that. As the final and definitive proof of his unconditional love, he decides to ask her to end him to put the stake through his heart...

(Here, it could be argued whether it's in a literal sense, like she just dies, or that they simply cut ties and dissolve their relationship).

I love the parallel with the previous song. In both, the protagonist has become an unstable and toxic person, and this begins to affect their partner. However, while in one, the relationship becomes monstrous and they are miles away from saving it, in the other, the mutual love is still there, and they decide to separate instead of destroying each other.

Anyway,

I LOVE THIS SONG WITH ALL MY BEING. THIS TRAGIC VAMPIRIC LOVE STORY IS EVERYTHING MY HEART CRAVES <3.

4. Drowning Lessons

OUR FIRST SONG RELATED TO THE DEMOLITION LOVERS!

I must be honest, this song causes me too much confusion, and I still haven't fully deciphered it.

Nevertheless, I will try to explain what I have.

The song refers to certain events that repeat day after day in the life of our protagonist.

He imagines how he kills his beloved.

Yes, how he kills her.

Also, how he remembers that he will never be able to marry her.

These are the themes of the song put in the simplest way; the complicated part begins now.

We know that the song is related to their upcoming album, "Three Cheers for Sweet Revenge," thanks to the line:

"A thousand bodies piled up."

This is a direct reference to the story where the man Demolition Lover (for a lack of a better name?) has to kill 1,000 bad men to be reunited with his beloved.

But there are several problems that complicate everything:

By referencing the 1,000 men, we know that chronologically, this song has to take place after the events of the song "Demolition Lovers," but I don't know at what point in "Revenge" this song would fit in.

The song talks about how HE killed his beloved, which, if we include it in the revenge lore, changes its meaning completely. I don't know if within the lore, this should be considered as a metaphor (following the themes presented by this album so far) that he "killed" her by dragging her into the world of crime (the Demolition Lovers were a couple of criminals who supposedly died when the police caught them) or if we should take this literally and accept that the demolition lover killed his beloved, and he relives this event every day due to trauma.

I think, in the end, I will leave the analysis of the lore here and come back when I finish the one for Revenge, since I KNOW that this song is essential to understanding the true story of "Three Cheers for Sweet Revenge," but until I analyze it myself, I won't draw conclusions...

SPOILERS FOR THE MANGA OF NANA AHEAD! Why Nana? Because it haunts me everywhere; this story has affected my life too much (help).

Returning to the song, it reminds me too much of Ren Honjo, one of the characters from the anime and manga Nana.

Everything goes wrong with this character since you find out that he is based on Sid Vicious, the bassist of the Sex Pistols, FAMOUS (in part) BECAUSE HE WAS ACCUSED OF MURDERING HIS GIRLFRIEND NANCY SPUNGEN!!!!!!

It's just that Ai Yazawa didn't base it subtly; just look at them:

They both play the bass, have a padlock chain, and style their hair in the same way. IN THE SERIES, THEY KEEP SAYING HOW MUCH THEY RESEMBLE EACH OTHER; IT'S VERY DELIBERATE.

Well, what happens is that Ren has a relationship with Nana. And they are very, VERY toxic. Jealousy and possessiveness mixed with the explosiveness of their love are what most characterize their relationship.

And, there's a point in the manga, a very low moment for Ren, where he confesses that sometimes he fantasizes about killing Nana. If you're a fan and follow the manga, this moment really hits hard, especially if you know EVERYTHING their relationship has gone through.

Personally, listening to this song conveys feelings similar to those with the manga. It's such a delicate, horrible, but complex issue at the same time... But it's largely thanks to this complexity of conflicting feelings that gives them the status of great works of art. Representing humans in their most beautiful moments, but also having the ability to do so with their lowest points, gives the work an incredible sense of realism. The characters cease to be mere fiction to embody the stories of flesh-and-blood people.

...

I feel like I should also mention that the members of MCR say that this song is cursed, lol. And that's why they don't play it in concerts. They say this because the few times they have tried to play it, something always goes wrong (technical failures).

End of fun facts, we'll see each other again when it's time for the analysis of Revenge :D

5. Our Lady of Sorrows

I know we just went through a somewhat confusing song, but I'm sorry to inform you that this one surpasses it in levels of confusion :(

My brain almost exploded trying to understand what this song wanted to tell me.

But I think that's the essence of the song, that nothing fits and it doesn't make sense xd (I'll elaborate more on that later).

When I first heard it, without paying much attention to the lyrics, it gave me the feeling that it was a very sad and violent song, VERY VIOLENT. In the chorus, the guitars sound like freaking chainsaws, and there's a very strong feeling of sore throat from screaming so much, very metal.

And everything got worse with lines like:

"Just because my hand's around your throat"

LIKE, HE'S CHOKING THEM, WHAT ELSE DO THEY WANT ME TO THINK?!?!?

I was absolutely sure its meaning was going to be very intense.

Until it wasn't.

Later, I find out that it's a song about friendship. But not necessarily a turbulent or dangerous one like the other songs. No. A good and unconditional friendship.

Yes, I wasn't understanding anything, and my mind exploded.

Until I took the time to look up for interpretations from fans and the band on the internet, and now I consider it 100% an anthem to friendship and a very freaking beautiful song <3

How ironic life is, right?

Now I proceed to explain:

Apparently, Gerard at concerts, when he's about to sing this song, always says something like: "You probably came with your best friend or one of your best friends... I want you to turn to that motherf--ker, grab him by the throat and say, 'You're my best f--king friend, and I would die for you!'."

Also, when they say the lines in the chorus:

"Stand up f--king tall, don't let them see your back,"

and,

"Take my f--king hand and never be afraid again,"

It refers to the fact that there are people in the world who will want to mess with you, that life itself will mess with you; but if you have your friends there, then you'll be fine. They will be with you and do whatever it takes for you, to help you, because they love you.

This message is often repeated in MCR's overall proposal when dealing with dark themes; where one often feels abandoned, the band wants you to move forward, have a good support network, people, and things that make us happy and make us understand that life can be beautiful too (this is also linked to the creation of the band, but we'll leave that for later).

This song has been adopted by the fandom almost as an anthem, symbolizing our fraternity and unity <3.

Now, about the lines and the general violent feeling of the song, I have to say two things:

Like, now having the context about the meaning of friendship and what Gee usually says at concerts, the violent lines don't sound SOOO absurd. I mean, there are times when friends joke like that. But it's still kinda weird without context, bro.

Ray Toro, My Chemical Romance's lead guitarist, wrote the music and brought it to Gerard, who wrote the lyrics. "It fitted because it didn’t really fit," Gerard recalled in Tom Bryant's Not the Life It Seems: The True Lives of My Chemical Romance. "That was something we always wanted to do – to put songs together that shouldn’t work together but do. This song was really aggro and metal...'' Now, it makes more sense that it sounds violent, right?

Before moving on to fun facts, I would like to mention how I believe there is more meaning than I explained in the song, possibly one more related to the religious parallelism it carries. But since this has already messed up so much with my mind , I'll stick with the conclusion I brought, which is usually the meaning that comes to my mind when I think of this song.

Now, to finish, fun facts:

The name "Our Lady of Sorrows" is a devotion to the Virgin Mary. If I remember correctly, I think it comes from the fact that Gee went to a Catholic elementary school (;-;) and they had a statue of this virgin.

I saw somewhere on the internet that the song is based on an experience Gerard had with a nun also in his Catholic elementary school (religious trauma? :0).

Gerard said that his favorite lyric ever is from this exact same track:

"Oh, how wrong we were to think that immortality meant never dying."

It's just beautiful.

A POSSIBLE REFERENCE TO THE SONG IN ONE OF THEIR MOST RECENT LOGOS??

6. Headfirst for Halos

Help, this song is pure depression (or does it help you with it?)

Well, it's because it's about it.

...

Depression and contemplation of suicide. Also, drug use:

"And now these red ones make me fly And the blue ones help me fall."

One referring to antidepressants and the other to drugs...

And it contains many allegories to the story of Peter Pan (with the "pixie dust" and the thinking happy thoughts to be able to fly). This may be because Gerard played Peter Pan in a play in elementary school jdjsfjdslkf.

Random photo of Frank as Peter Pan, lol.

The song is supposed to have started as a joke. They were high and having a blast. At first, Gerard thought:

''...this is the catchiest, popiest, stupidest shit I have ever heard''.

But as Gee continued with the song, he realized the potential it had and turned it into this genius piece, by adding the really dark lyrics to it.

It's worth noting that in his early 20s, he experienced issues with alcohol and drugs, as well as struggled with depressive episodes.

There's a quote of him that I like very much talking about this song, relating it to that topic:

Gerard: Really quick, just to save you some time, it’s a song about being really depressed, on a lot of anti-depressants, and wanting to kill yourself. But instead of doing that, I just wrote a song about it, so...that’s what you should do if you ever wanna kill yourself. Interviewer: Write a song? Gerard: Write a song about it.

...♡...

I believe that the line "Think happy thoughts" is one of the most poignant in this song. There are times when our minds are infested with intrusive thoughts that don't let us live in peace. There are other times when these thoughts are not just thoughts; they are also an illness. And having to live with this can make us desperately and endlessly repeat to ourselves, "Just think happy thoughts, happy thoughts..."

7. Skylines and Turnstiles

This was the first song ever written by MCR. Here, it talks to us about 9/11 (an event that led to the creation of the band) and the widespread feeling that was experienced across the world, especially among American youth, after the attack. Feelings of despair, loneliness, abandonment...

Feelings that this track perfectly encapsulates. It is a vivid description of what the traumatic event was for many.

I also believe it tells us a lot about its author, our dear Gerard Way: his desire to do something different that can help people, which awakened in him after witnessing this heartbreaking event and led him to deeply question everything he was doing at the moment, his job, his life, and the world in general.

This is evident in the line:

"And if the world needs something better Let's give them one more reason now."

This desire founded the band, and I think it has been fulfilled, as throughout all these years, they have helped millions of people with their music <3.

8. Early Sunsets Over Monroeville

“😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭’’.

Warning: This is one of the most emotionally painful songs on the album!

As with "Vampires Will Never Hurt You," this song is related to the undead, the protagonist's dilemma and his lover, references to pop culture, and literal and possible metaphorical meanings :)

It all begins as the protagonist describes beautiful sunrises and sunsets while holding hands with his beloved, imagining together that their life is perfect, like a movie.

Then, the ZOMBIE PLOT begins!!!

[This song is heavily based on the 1978 movie 'Dawn of the Dead,' one of Gerard's favorite films. Throughout these 5:05 mins, we will notice multiple references to the plot.]

To summarize, the couple tries to survive a zombie attack in a mall in Monroeville (as in the movie), but plot twist, the girl gets bitten. And here is where the dilemma comes in; the protagonist wonders if anyone notices or even cares about what's happening. He reproaches himself for not having the guts to end what was once his beloved.

Here arises a moral dilemma similar to that in "Vampires," "Do I shoot her or not? Do I end her life? Can we even call it 'life' anymore? She's not here anymore, right?..."

I guess it could also be given a metaphorical analysis; I feel it could take on a meaning similar to "Vampires" itself, after all, I've highlighted multiple parallels between the two songs... The problem is that I think they need to represent different themes for me.

Let me explain, I wouldn't want the two songs to be exactly the same, I want the emotions they convey to be different. That's why I'm reluctant to give them the same interpretation. That's also why I was racking my brain looking for other possible metaphorical meanings until I gave up. I also didn't want it to turn into finding pretentious meanings just for the sake of having them. I wanted what I wrote here to be what I felt when listening to it. So, for this reason, it won't have (from my side) a metaphorical analysis.

(I forgot to mention that theoretically, it could also be analyzed in terms of social critique; but as I stated before, personally it'll just feel really forced if I do that, really like that feeling of tragic romance too. However, the possibility is still there, and for those interested, they can read this post idk: https://oneweekoneband.tumblr.com/post/149709926794/theres-a-corpse-in-this-bed-early-sunsets-over).

Now, for me, if this song doesn't carry another meaning that isn't so connected with everyday life without zombies, how can it be so heartbreaking? Ahhhhh, good question :D , here comes the other reason why this song is great... The interpretation.

I mean, listen to it again, now more attentively. You feel a ballad-type song with beautiful poetry, descriptions that can get personal without necessarily identifying with the need to kill your zombie girlfriend, melancholy, nostalgia, it's all there. And, what for me hits the nail on the head perfectly: Gerard Way's voice and emotion with his performance. It's simply heartbreaking.

This is what makes it one of the most emotionally painful songs without the need to explain them metaphorically. The literal explanation, the one about the 1978 zombies, works to make you burst into tears, and that's magnificent.

Time for some fun facts:

This started out as a tender ballad, but producer Geoff Rickly sensed there was something darker brewing under the surface and encouraged Gerard to tap into it. "Just go with what's inside your head. Don't even listen to the music," Rickly recalled telling him before his explosive performance. The producer told MCR biographer Tom Bryant (Not the Life It Seems: The True Lives of My Chemical Romance) the rest of the band was left shaken in the aftermath of the rage-fueled session. "Afterwards, everybody just left and went outside to smoke cigarettes because they couldn't deal with looking at him after he had sung that," he explained. "He had just ripped himself open in front of everybody. He'd taken it so far that it was uncomfortable for anyone who was friends with him. They hadn’t seen him as Gerard the singer, they still saw him as their buddy Gerard. It's a little scary to see someone do what he did."

(This song gives me vibes of a sad AU on AO3 for some reason)

9. This is the best day ever

This song is about our protagonist who is in the hospital and meets a patient, and they fall in love. They promise each other that they will escape from the hospital together, and when that day comes, it will be the best day of their lives.

Now, I have enough evidence to start suspecting the existence of the girl in question. First, we know that the protagonist is sick; we don't know the type of illness, but what we do know is that his time in the hospital has affected him mentally (whether it has worsened any mental issues he already had or if his time in the hospital has caused it). He is not mentally well, suffering a lot of stress, which may possibly lead to hallucinations 🤨. However, everything becomes even stranger when one hears the following line that are repeated a couple of times during the song:

"Well, I thought I heard you say, 'I like you, we can get out, We don't have to stay, stay inside this place.'"

CLEARLY, HE IS SO DISORIENTED THAT HE IS NOT EVEN SURE IF THE GIRL SAID THAT, but his pain and stress inside the hospital are so intense that he ends up inventing a whole story in his head, poor thing.

(Obviously, I know nothing about mental health issues, and maybe I'm completely off, but well, I think the song is more interesting this way).

10. Cubicles

oh shit. i love this fucking song so much…

Ok, in summary, it's about the protagonist's crush at work who never paid attention to him and then left the office. The protagonist talks about how he had her absolutely idealized, both her and a hypothetical relationship.

When he faces reality, where she doesn't even notice him and leaves work just like that, he collapses. He sinks into his intrusive thoughts, repeating to himself that nobody notices him, feels him, or cares about him. He's tired of the same routine, obsessing over someone, and it ultimately leading nowhere. Until he thinks he'll die alone, won't do anything with his life, and will just die someday. At a very low point, he confesses that he "prefers" to die alone, or at least to just die.

It's simply devastating. It's the fucking idealization of life and relationships, and how living with these expectations leads us to believe in a story that isn't real and drown ourselves in our own misery.

It reminds me of a VERY good video essay on YouTube that is the best thing that has happened to me, and I recommend it to everyone. It deals with the same theme, of course, in more depth. WATCH IT :D

AND NOW, FINALLY, it's time for our last and most awaited song...

11. Demolition Lovers

This is one of the longest and most beautiful songs (yes, I said it) in all of MCR.

It's iconic. The beginning of Revenge and the creation of one of the most relevant emo tragic love stories.

It's practically the story that the average fan of the band knows:

Two characters. They are a couple. Apparently, with no given names, only known as the Demolition Lovers. A kind of Bonnie and Clyde criminal couple on the run. In the end, a story with a tragic romantic "ending", them escaping from the police, ending their days in a hail of bullets and a pool of blood (from a shooting, in other words) where they profess how much they love each other as they gaze at one another in their last breaths.

Throughout the song, the protagonist tries to emphasize A LOT how much he loves her and that he would do EVERYTHING to prove his love to her. He recounts that after everything they went through and everything they put each other through (reference to "Drowning Lessons"?), he just wants to end up with her (the entire plot of Revenge, basically).

[Can we please take a moment to admire how beautiful this song is musically speaking? I don't know much about music like a musician does, I just mean that this song is BEAUTIFUL, and that abrupt pause in the middle with the guitar is ART>>>>>>>] *end of intermission*

I would like to highlight a couple of things and lines from this song that I think will be key or can be better understood when I do the future analysis of Revenge:

As I briefly highlighted, their relationship was also (of course, lol) turbulent; it may share certain themes with the couples from the other songs, thanks to the verse:

"I'm trying, I'm trying To let you know just how much you mean to me And after all the things we put each other through and’’

He is desperate to prove himself to his beloved, SO BAD that I don't think it's in a conventional way. It is SO prominent throughout the entire song that it raises many doubts for me. What exactly went wrong? What exactly does the Demolition Lover girl think about this? And the BIG question that "Drowning Lessons" left us with... did he kill her? dun, dun, DUN… ~*suspense*~ ...

◦ Conclusion <3

I love how this album keeps bringing up the same themes and discourses throughout its 11 songs. On the one hand, we could think of them as connected, and that it's really the same story, but I think that would be too fucking much. I believe that after so much analysis (for now), the only songs that have a direct connection to the story of the Demolition Lovers are "Drowning Lessons" and, obviously, "Demolition Lovers."

But that doesn't take away from the fact that, in MESSAGE , many are still connected. This reminds me of an anthology of different stories, like books or series. They can be told together but are not necessarily interconnected per se; their motives and meanings are.

I think this is what makes me feel this album with its interpretation, lyrics, and stories, an anthology of conceptual songs strongly based on horror stories with tragic tones and gothic romances that also let us see more about its author, understand him better, since, after all, art is a reflection of the artist and their experiences.

Bullets talks to me about idealization and disillusionment, helplessness, angst, anger, illness, loneliness, toxic people, but also about love and eternal friendship, those who genuinely appreciate you...

Bullets allows me to indulge into and experience each of these themes for myself and brings to the table a very important conversation about ourselves. We are not perfect, we are all full of flaws, and that's okay; we can all become reckless bullets that hurt our loved ones or even ourselves by piercing them with painful "truths" and destructive behaviors. This is what the main metaphor of this album, the "bullets," means to me. And as the beautiful ending reiterates to the point of exhaustion:

“all we are, all we are is bullets, I mean this’’ ♡‌

This is my take on this album: beautiful musical ( and even literary) pieces filled with stories about turbulent, passionate, chaotic, and chemical romances...

♡+:;;:+♫+:;;:+♡+:;;:+♫+:;;:+♡+:;;:+♫+:;;:+♡

My utmost respect to anyone who has read this complete analysis; it took me quite a while to do it (me and my hyperfixations ¯\(ツ)/¯). I hope it has been enjoyable and miraculously made someone love this amazing band even more <3

Any criticism or discussion you'd like to have, feel free to engage; I'd be more than happy :D

------------------------------------------------------------------------------

★ Some videos and accounts that were of great help, reference, and inspiration for me to do this: @mieux-de-se-taire thanks very much for the interview transcriptions.

★ Here am tagging mutuals that might be interested in this:

@sofaaac

@infinatenoise

@inahailofbulletz

@mychemicalfaggotry

★ See you all on my next in-depth analysis on Three Cheers for Sweet Revenge! The real beginning of the story we all know and love (well, not quite like that tbh)...

[idiototheinternet]

Infodump about the ideas for the highschool idol au

So. Character info.

Cross: His dad is the principal (but they aren't on such bad terms, they just don't get along the best), he lives on campus with Ink (this is kinda a private school situation, you live in the dorms, but the uniform isn't really enforced by anyone but the actual principal, and it's usually just a stern warning.) and he may have some gender dysphoria, because I enjoy jumping on the bandwagon of using Cross as a punching bag. He wears the uniform pretty consistently, with a gold locket under the tie. He does always insist on wearing red Chuck Taylors all the time, which is the only pop of color on him other than the red scar on his cheek he got from falling down a hill as a kid. He was forcibly added to the band as secondary vocals and drums

Killer: Chaotic, loud, and possessing some godforsaken mix between a Cockney and a Boston accent that sounds surprisingly good when used to sing, he's the epitome of everything Cross isn't. He enjoys ghibli movies, my melody, and cats, but also feels like a bolt of lightning. When he actually wears the uniform, it's usually with a signature studded leather jacket with pins in it. he never takes the jacket off. if he isn't wearing the school uniform, it's usually a shirt with Kel holding an orange joe or a cat hoodie under the jacket. His voice and outgoing nature got him the spot as the lead vocals and guitar.

Horror: He doesn't speak much, but when he does, it's slow, and full of thought. He likes to make food for people, and one of the first things he said to Dust was "Do you like pie." (much slower, but you get my point.) He never really wears the uniform, and everyone is fine with that, i don't think he's even met the principal. The best bear hugs in the school come from him. He plays bass.

Dust: He speaks snarkily to combat Killer, or to help Nightmare talk him out of a terrible plan to get that one guy finger drumming and mouthing the words to Fine to come and play. He wears the uniform sometimes, but always finds something to make it different, never removing his scarf.

Nightmare: He writes the lyrics to all the songs they sing, and drills everyone on the lyrics matching the beat exactly. EMO B- He always insists on visiting this one coffee shop, and always either wears casual wear or a full suit like

And high heels. He's hot and he knows it.

Error: Works on audio editing, and seems to be getting gradually more interested in theater. if you think he wears anything but his pajamas, you're wrong. Bro learned how to code a free no download version of FL studio, but won't do his math homework.

Ink: Ultimate art and theater kid, does everything, always covered in paint. how does he manage this. Pretty good grades, and he can sing well, but he usually keeps his singing to himself and this one guy who used to go to school with him.

Dream: Writes scripts, and plays smaller character parts, very gay for blue. That's all I can really say without having a whole ass essay.

Blue: Builds the sets for plays, and finds ways to get the school budget large enough to get all the materials for the plays.

Ccino(I'm just gonna refer to him as coffee guy until nightmare actually learns his name): works at the only good campus food store/cafe, and makes, and I quote "The only black coffee that you can actually enjoy"-Noot noot joku, 2023(/24, Idk when he'll say that.)

[skeeverboy]

for a band consisting of 0 queer people, the front bottoms write such impactful queer music. this is why “looking like you just woke up” is a really sad queer/gay story

to me this reads as the speaker talking about how he enjoys the “in between” type of stage of a relationship. meaning, he loves waiting for girls to get with him, he loves girls who aren’t over their ex boyfriends. this feels like a situation where the speaker is closeted or in denial, and is relishing in the parts of relationships with women that don’t actually involve any romance or sex or anything.

the second part, loving places he’s never been and places he’ll never go, is metaphorical. he loves things he’s never had, nor will he ever have. he loves the idea of relationships with men, idealized in his head, even though he will never experience that in how he lives now.

also for what it’s worth, new mexico is a decent place for queer people from what i’ve found.

the first part of this verse, the fistfight, is really great imagery. in my head, it paints an image of a fight during a party. it makes me think of a lyric in “taking my uzi to the gym” where he talks about hanging out in the basement at a party. there’s two explanations in my mind for this. firstly, there’s an actual fistfight happening for reasons unknown (if you REALLY want to reach, it could be the speaker being assaulted for his queerness) OR it’s simply a metaphor, i think probably (knowing the front bottoms) a reference to the speaker being drunk or high to the point that he’s swaying and can’t keep balance.

the next two lines my partner likes to joke that it sounds almost flirtatious, but i think that almost has validity to it as an interpretation. “let’s keep this clean, as clean as you like” is sort of bargaining with whomever they’re talking to, giving in to whatever the other person demands. at first the speaker is asking to keep it clean, and then immediately changes their mind and decides to do whatever the person they’re talking to wants. whatever “this” could be referring to could really be anything; a fight with a partner, a hookup, etc.

now these last lyrics here are what sells it. it’s so obviously gay— “it probably wont get easier, just easier to hide” is about the speaker being closeted; his queerness won’t get easier, he’ll just get better at hiding it. and he’s preparing for this to be a dull ache in his chest for literally the rest of his life.

this paints such a perfect image of this closeted gay man, so deep in the closet he has a girlfriend or even a wife. he fantasizes about faking his death to get away, he pretends to be straight for the tradition. he fakes confidence in his life, and regardless of his own feelings, he returns his girlfriend/wife’s love unquestioningly.

sorry if this made no sense, it’s late at night and i’m rambling :3

[silenzahra]

Ooh, I’ve got some asks! 😁

🐈‍⬛🍜🎶

Referring to this ask ✨

AWW Vee!!! Thank you so much for asking!!! 😁😁😁

🐈‍⬛ My favorite animals are dogs! 🐶 I've grown up in a household that's always been full of them, either being my mom's or some of her sisters', so I'm very fond of them and I know how to approach them and such. I'm the kind of person who walks down the street greeting every single doggy she comes across, and I feel so HONORED when they allow me to pet them 🥹🥹🥹 I honestly love all animals, but to me, dogs are the purest creatures to ever exist 🥹🐶

And of course, I had to seize the opportunity and brag a bit about my three babies! 😁

This is how the twins sleep lol, I decided to add the emoji just in case 😂😂😂

🍜 I'm gonna get very "typical Spanish" in this one, but I have to say: potato omelette 🤤🤤🤤 There's literally no better dish for me. There's a silly "war" in Spain about whether you are pro-onion or against-onion, and I must say: NO onion in my omelette, please 🙅‍♀️😂 Also, there are some parts in my country (like Madrid) where they prefer their omelette very creamy, but I actually like it better consistent and overcooked. As you can see, there's a whole issue in here with our most typical dish 😂😂😂 But if there's something we all agree on, it's that it is delicious 🤤🤤🤤

🎶 Oh, I already talked about my favorite musical artist in my musician headcanons post! 😁 But since I don't want to repeat myself, this time I'm gonna go with the second band I've listened to the most in the past few years: Imagine Dragons.

I only discovered them in 2021, thanks to the Netflix show Arcane (which I LOVED), but this song here is the one that's impacted me the most. I love EVERYTHING about it: the music, the lyrics, the message... I still give it all every single time I listen to it, and I love many other songs by them, but this one still remains my favorite. So AMAZING 🤩🤩🤩

Thank you again for asking, Vee! I love these games so much! 😁💖💖

[axelaxolotl09]

Saw your intro what’s sleeptoken

im sobbing i just wrote out a beautiful intro to sleeptoken and it got deleted because i accidentally closed tumblr <//3 time to rewrite 😋

first off : i love you for asking!!

secondly : sleeptoken is a british, debatably metal band formed originally in 2016. their popularity spiked in May 2023 when their newest album “Take Me Back To Eden” came out. On December 16, 2023, the band got new masks and got another surge of popularity - i started listening to sleeptoken just weeks before this ritual (also: concerts are referred to as rituals, and most fan-creations are tagged or noted as “worship” - should make more sense as to why after this next paragraph)

the band consists of 4 masked members who go by the aliases of Vessel, II(two), III(three), and IV(four). The songs published by the band follow a story of a seemingly romantic toxic relationship between a deity known by the name of sleep. Vessel is called such because he is the humanoid vessel of sleep, and sleep seems to abuse her power and use her highness in order to manipulate and control vessel. The discography of the band has to do with vessel loving sleep without noticing the pain she inflicts, and as time progresses, the songs seem to shift focus onto his attempt to escape her grasp.

All of this so to say that as much as i love and adore this band, my info could very well be inaccurate (its mostly gathered from fan theories and lore drops from a friend, so very scattered sourcing), but if youd like to learn more, i absolutely recommend you check out @sleepanonymous’s blog! they have a few very coherent timelines of the band and pretty much any questions you may have, they should be able to answer. I also absolutely recommend their music - it is very well produced, the lyrics are deep and quite frankly relatable, and the musical tracks are ethereal. furthermore, vessel, the vocalist, is one of the most talented vocalists ive heard in a while - his range and inflection skills are remarkable. I truly believe their music is the closest to perfect ive been graced to listen to.

tl;dr: sleeptoken is a really cool band i love and you should listen to!!

thank you anon for the ask!!

[notafraidofredyellowandblue]

OOR 2002 - Nr 10 - Rammstein interview

Rammstein

Last December they played three sold-out converts in Amsterdam's HMH, this year they are one of the closing acts at Pinkpop. In June they will play again in the Netherlands, at the Gelredome in Arnhem, which will undoubtedly also be sold out. Rammstein is no longer a band just for sensation-seeking metal fans. The key to their success? The Germans are masters of calculated provocation. Although they will never admit it themselves.

by Danny Koks

In their own country, their records consistently number one on the album charts, they have played in Australia and Japan, and slowly but surely they have reached the U.S. conquered. There people have fallen en masse for Till Lindemann's captured lyrics, distasteful rolling 'r' and the Teutonic thundering cadence that drives the group. The band from the former GDR has now sold two million CDs there, their songs are played on the radio (unique, since not a single American understands German) and they were nominated for a Grammy. An honor that no German act has received since Milli Vanilli (!). The story of guitarist Richard Bernstein, bassist Olli Riedel, drummer Christoph Schneider, guitarist Paul Landers, singer Till Lindemann and keyboardist Flake Lorenz, all from East Berlin, has to be the most bizarre success story of the last fifteen years. be pop music. Perhaps that period is too short. Perhaps Rammstein's glittering international career is just as bizarre as the story of a dimwit from Flanders who, as Eddy Wally 1), scored a killer hit with Cherie as far away as Russia and China. Perhaps even more bizarre.

"The secret of our success is that we have always stayed true to our style. We have refined it here and there over the years, but our music has always remained typical Rammstein, and I think the audience would like to keep it that way. " That is the measured answer from drummer Christoph Schneider, who sits together with Flake Lorenz at the Rammstein management office in eastern Berlin. There is a reason why their answers during the interview are so short and concise. The band members do not like to give us a glimpse into the kitchen of Rammstein and the language barrier therefore serves as an excellent line of defense (they only do interviews in German).

Of course, the success of this band does not lie in the fact that they have remained true to their style. Thousands of bands all over the world remain true to their style and do not go further than the youth club of the neighboring village. Rammstein is so popular because it is a total concept, similar to the Gesamtkunstwerk as envisioned by German composer Richard Wagner. A multimedia total experience that feeds our subconscious fear and hatred for everything German and at the same time holds up a mirror to show us how ridiculous those gut feelings actually are. Who takes all the cliché images (Blut und Boden) that we have about Germans as true and at the same time makes fun of them in a grotesque way. Rammstein plays that game with a velvet technique and at all levels: music (punishment and martial), lyrics (dark and commanding), artwork (cold and distant) and live show (grand and imposing). The Gründlichkeit with which the six Ossies approach this results in a parody of Germans that can only be described in one way: typically German. Thought out from A to Z, Herr Schneider? Of course not: "Rammstein simply makes loud music. We play what we can play and it sounds the way it sounds."

During the day they all had jobs, after all, 'unemployed' did not exist in the dictionary of the German Democratic Republic. Olli was a plasterer, Christoph installed telephones, Paul was a heating engineer, Till woven baskets and Flake made tools. Just as Father State directed all facets of daily life (a well-known expression in Die Ost was 'every second is one of them', referring to the fact that your neighbor could be an informant for the feared secret service), it also had a strong involvement in the existence of amateur musicians. Since living expenses were cheap, they had it relatively easy: one or two performances at the weekend were enough to finance your hobby. Everyone knew everyone, the music circuit was small and well-organized. Oliver Riedel played in the folk band The Inchtabokatables, while Paul Landers and Flake Lorenz scored a premiere with their punk band Feeling B by being the first East German punk band to release an album. Richard Bernstein had a crossover band. In that capacity, the regime left them relatively alone, although they had to be careful not to come across as subversive and anti-totalitarian in their lyrics. When the Wall falls in 1989, the six's first encounter with the free West takes place in the form of West Germany superstar David Hasselhoff (Knight Rider, Baywatch), who stands on the ruins of the tightly drawn concrete border between East and West sing his hit Looking For Freedom. They have no idea who he is. Four years later, Christoph, Olli, Till and Richard decide to turn their backs on their old, moribund bands and start a new one.

"German bands always try to imitate their American and English colleagues," says Christoph Schneider. "We did that in the early days, by mixing hip-hop with hard guitars. You know, what every band on this planet does. That was mainly Richard's idea, we tried to build on his style. But hip-hop, that just had nothing to do with us. We didn't feel anything about it at all." Yet it is the same Richard Bernstein who said about those early days in the Berliner Morgenpost: "I had the opportunity to go to California and experience the bands we imitated up close. Only then did I realize that culture and climate determine what kind of music people make. I returned to Germany and started writing music that is characteristically German." According to Schneider, that picture requires some nuance. "Richard is the most stubborn of the bunch, we always have the most difficulty convincing him of our ideas, especially in the early days. If he had the sole say, the band would sound much softer and poppier. Only when Paul and Flake joined, our current, martial style was born. They had a punk past. That mentality appealed to us much more, as Germans we could at least get along with punk. Richard wants to take credit for the way we make music, but the fact that we sound so German is above all Paul's merit. In the other bands he played in, he also had highly developed ideas about how a band can distinguish itself. He always thinks a lot about that and is in that sense the theorist behind Rammstein. We owe it to him that we were able to muster the courage to take the risks we did then."

The band name was quickly chosen. A year before the fall of the Wall, on August 29, 1988 2), a terrible accident occurs during an air show at the Ramstein military air base, in which a stunt plane crashes into the audience while burning, resulting in seventy deaths. The enormous force of the explosion scorches people in front of the camera. Rammstein, that is. The name is a prime example of the sharpest tool with which the band has become so successful; Rammstein understands the art of calculated provocation like no other. Till Lindemann goes one step further by singing the song Rammstein wrapped in a burning coat. The lyrics ('Ein Mensch brennt/Fleischgeruch lieft in der Luft/ein Kind stirbt/die Sonne scheint') could still be seen as a factual summary of the images of the air disaster, but that coat suddenly puts the song in a completely different, lugubrious and sinister, daylight. Rammstein behaves like an elephant in a china shop, but does so as subtly as a butterfly!

That song in question comes from the debut Herzeleid, which was released in 1997. Artwork (see 'controversies'), lyrics, music and appearance of the band members immediately sparked a heated discussion in Germany about the band's image, which distrusters quickly labeled as 'fascist'. Drummer Christoph Schneider defended Rammstein's creative and musical choices at the time, saying that "we are indeed muscular, have short hair and sing in German, with a rolling 'r' (with which Lindemann, according to some German newspapers, imitates Hitler's way of speaking during speeches). But that does not mean that we are fascists." Later he said in OOR about this smear: "Germans of course struggle with that eternal feeling of guilt. They want to be everything, but please not German. It is very difficult to talk about that without immediately being called a Nazi. Who says: 'I am German', he is a Nazi." The Nazi ghost is persistent, because even during the release of their latest album, Mutter, a student of German literature claimed that the record title is a clear reference to the mother country Germany. Quatsch, says Schneider. "We play with the image people have of Germans. Rammstein comes across as a militaristic band that barks its orders at the audience. We embody how the rest of the world imagines Germany. That image is made up of clichés, many of which are directly related to the war. Yet I see it more like this: we embody everything that has made Germany famous, good and bad."

It may have been the naivety associated with growing up in the isolated GDR that prevented the band from properly sensing how sensitive the Nazi past still is. Yet even after that debut and the wave of criticism that album provoked, Rammstein likes to flirt with his 'right-wing' image, although they continue to claim that they do not do this consciously. Flake: "You can also turn a Britney Spears lyric into a Nazi lyric. Ooops I Did It Again, Hitler...do you see the connection?"

Nevertheless, they use images of Leni Riefenstahl for a video clip (see 'controversies'). And some of Lindemann's choruses show that the Germans can also express their calculated provocation in a more subtle way. Those of Heirate Mich ('Heirate Mich! Hei! Hei! Hei!'), Du Hast ('Du! Du hast! Du hast mich!') and Rein Raus ('Rein? Raus!') do show demagogic traits that are reminiscent of bad times. And when they feel it necessary to convince us of their political color, which they do on Mutter in the song Links 2 3 4, they do so to the sounds of a military march. It is typical of Rammstein to say that their heart beats on the left while the music conjures up images of endless rows of shiny, polished soldiers' boots marching in mechanical step across Unter Den Linden.

The great thing is that the band gets away with flirting with everything that is labeled as rightwing and wrong, and that it can leave people in the dark undisturbed as to whether the six Germans are all serious or not. Rammstein makes grateful use of Till Lindemann's texts. Not one of them (except for the aforementioned Links 2, 3, 4) has a political connotation, with which the singer defuses the situation. On the other hand, they are a perfect vehicle for the band to practice their favorite activity: calculated provocation. The surly, possibly or not genuinely tormented singer emerges in his lyrics as a lugubrious man who, especially on the first two CDs Herzeleid and the 1999 released Sehnsucht, hunts for sexual satisfaction like a predator. On two conditions: it has to be his way and he will not tolerate any objection. In Herzeleid's Weisses Fleisch he tries to find satisfaction in S.M.: 'Du auf dem Schulhof/ich zum Töten bereit/Und keiner hier weiss/von meiner Einsamkeit/Rote Striemen auf weisser Haut/ich tu dir weh/und du pity laut.' Pay particular attention to how one simple word ('Schulhof') gives the song a charge that makes you feel extremely uncomfortable. In Heirate Mich (from the same album) he does this again, by introducing the listener to the world of necrophilia. 'Mit meinen Händen grab ich tief/zu finden was ich so vermisst/ich nehm dich zärtlich in den Arm/doch deine Haut reisst wie Papier/Und Teile fallen von dir ab.' On Sehnsucht he once again explains in detail that he is purely interested in his own satisfaction ('Bück dich befehl ich dir/wende dein Antlitz ab von mir/dein Gesicht ist mir egal'). On the same album he also delves into incest, such as in the song Tier, in which a father sexually assaults his daughter: 'Was macht ein Mann/der zwischen Mensch und Tier niet unterscheiden kann/Er wird zu seiner Tochter gehen/sie ist schön und jung an Jahren/Und dann wird er wie ein Hund/mit eigen Fleisch und Blut sich paaren'. From Speil Mit Mir the following stanza: 'Wir teilen Zimmer und das Bett/Brüderlein komm und sei so nett/Brüderlein komm fass mich an/rutsch ganz ganz dense an mich heran.' Mutter deviates from his predecessors in that Lindemann seems to have moved on from his sexual perversions, except for the song Rein Raus: 'Tiefer tiefer/sag es sag es laut/tiefer tiefer/ich fühl mich wohl in deiner Haut.' The provocation is now found through other channels, such as in the song Ich Will, which, given the earlier accusations of fascist tendencies, has a strikingly popular character: 'Wir wollen dass ihr uns vertraut/wir wollen dass irh uns alles glaubt/Wir wollen eure Hand sehen/wir wollen in Beifall untergehen.' Of course, shivers run down your body when Lindemann cuts Snow White into a morbid fairy tale (Mein Herz Brennt): 'Nun liebe Kinder gebt fein eight/ich bin die Stimme aus dem Kissen/Ich hab euch etwas mitbracht/hab es aus meiner Brust geissen. '

"Pain, suffering and heartbreak have always been a source of inspiration for us," says Christoph Schneider about the lyrics. "When we started the band, we all had relationship problems, some of us even had to leave our children. At that time, music was an outlet for our frustrations for all of us. Ten years have passed and for me personally, suffering plays no role in my life anymore, but for Till it absolutely does. And there are a few band members who have to be in a constant state of pain and sadness in order to feel good. Although I do think that we will slowly have to break new ground if Rammstein is to continue to exist." So to think that the band has become more cautious is a wrong assumption? "Yes, we have always played with ambiguity. In the very beginning we just tried everything. Until we heard the public reactions: 'Can a band make something like that, isn't it all too German?' Should we explain everything or leave our image open without providing any text or explanation? We opted for the latter. This action-reaction dynamic is something we have been dealing with for years now, with public criticism serving as an indicator: If people think we are going too far, then we know we are doing the right thing. Furthermore, it is a matter of remaining brave and saying: Was die Leute finden ist mir scheiss egal. Still, I think we have closed a phase with Mutter. We can't continue to flirt with taboo themes, we have already pushed the boundaries of that."

The fact that Rammstein can cut so undisturbed with his sharpest knife (provocation) is due to their most blunt instrument: the live show, in which they perform a modern variant of Dante's inferno as post-apocalyptic half-zombies. During the Sehnsucht tour, the band members appeared as robots and machines. Their hair is dyed silver, with long coats full of nail studs and rubber and bright blue lenses. Cold and expressionless, they stared into the crowd. Till Lindemann descended onto a trapeze staircase, while jets of fire sparkled from beneath him. he carried flamethrowers shaped like Freddie Krueger fingers. His voice rolled over the audience like a Teutonic march: punishing and unrelenting. He punished himself with a whip, and a little later, using fire-breathing boots, he rolls over cartwheels across the stage. Deep red blood seeped from his silver hair. A woman in angelic robes descended into a rusted steel cage, while flames spouted meters high into the air around her.

The band manages to convey all this with so much seriousness that the few moments in which Rammstein allows you to think that you might also find it all very funny have an even more alienating effect. When the two guitarists and the bassist enter the stage during Wilder Wein with ridiculously large sombreros, for example. Or when Flake goes crowd surfing in a rubber boat. Or, indeed, when the same Flake gets liters of semen sprayed over him by Till (Bück Dich). The band continues to do so happily during their current world tour. For example, large glass jars containing children's corpses are placed on stage in strong water, while at one point Flake appears to be a surgeon under an operating lamp, complete with white coat and doctor's gloves. They themselves of course deny it, but associations with Doctor Mengele still pop into your head completely involuntarily. Don't worry, it's a completely innocent association, because Rammstein is fun. Isn't it? Well, it's not that simple. Compare it to schlager. Watch a schlager program on German TV (Schlagerparade Der Volksmusik is highly recommended) and you will see the similarities. The singers from Tyrol and Bavaria look terribly out of place in their lederhosen and dirndl dresses, with their undeniable Prodent 3) smile and blow-dried hair in front of plywood sets of snow-capped mountain peaks, alpine meadows full of flowers and log cabins. But damn, they still really like it. Flake: "There is humor in what we do, but it has crept in completely involuntarily. People see us as something comical, but that has never been our intention." Christoph: "What we are playing now sounds authentic to our ears, we can identify with this. What we make is what we feel inside, what we experience as real. We bring comedic subjects with complete seriousness, that is our craft. Till brings ridiculous topics into the spotlight with a deadly serious face and dramatically accented voice. We like that. It's good to keep people in the dark." Oh well, otherwise Rammstein can still use the excuse, entirely in German tradition: Es sei nur ein Scherz gewesen.

Five controversies surrounding Rammstein

1. Artwork Herzeleid

On their debut CD Herzeleid from 1997, the six band members are depicted bare-chested against a background of a gigantic orange-yellow sunflower. The taut and oiled chest muscles, the short, severely shaved haircuts, the separation of band members by hair color (brown on the right, blond on the left); everything indicated that, according to the Rammstein critics, the Berlin band presented itself here as a representative of a new, superior Men's race. With this, the six made a giant swing across the political spectrum: from ex-communists to neo-Nazis in the space of a month.

2. Arrest

On Saturday, June 5, 1999, singer Till Lindemanne and keyboardist Flake Lorenz were arrested immediately after a performance in Worcester, Massachusetts. The scene during Bück Dich in which Lindemann stood behind a bending Lorenz to simulate anal sex with a strap-on dildo, rubbed local law enforcement officers the wrong way. They handcuffed the two, who then had to spend the night in jail and were released after paying bail (25 dollars).

3. Wrong timing

At the moment Osama bin Laden's Al Qaeda terror organization forced two hijacked passenger planes into the WTC buildings, Rammstein's members were also in the air. They set course for the United States to continue their world tour. All aircraft that were in the air at that time and flying towards America had to immediately turn around, including Rammstein's. However, all the necessary stage equipment had already been flown over, so a week after September 11, the Germans toured America with a show full of fireworks, meter-high flames and explosions.

4. Stripped

Rammstein recorded the song Stripped in 1998 for a Depeche Mode tribute CD (For The Masses) (later also on the Australian tour edition of Sehnsucht). For the accompanying video clip they used images from Leni Riefenstahl's Olympia documentary about the Berlin Olympic Games in 1936. Riefenstahl was Hitler's court filmmaker. Goldie and Asian Dub Foundation were the first musicians to publicly accuse Rammstein (MTV, NME) of having Nazi sympathies. Fellow Berliner Alec Empire (Atari Teenage Riot) had a more nuanced opinion but did say: "You can't use Riefenstahl's footage and then say it was just a joke. My grandfather died in a concentration camp, so forgive me if I here don't see the joke." Richard Bernstein subsequently stated that the band had used the images purely for aesthetic reasons. "We thought they were beautiful images. That's probably what people in the cinema thought at the time: beautiful images."

5. Columbine

Painfully topical given the terrible shooting at a gymnasium in Erfurt. Two years earlier, on April 20, 1999, Eric Harris and Dylan Klebold shot and killed twelve students and a teacher and then themselves at Columbine High School in Litteleton, Colorado. The perpetrators are said to have been incited to their actions by the music and lyrics of Rammstein and Marilyn Manson; right-wing and Christian groups immediately called for a ban on both bands. Christoph: "It was put that simply, but of course it is not that simple at all. Typical of American politics to point to one guilty party in their world where everything is black and white." Flake: "It's fortunate for us that Osama bin Laden is not a Rammstein fan."

--

1) Eddy Wally was a Belgian singer who enjoyed some popularity among 'regular' folks, but to 'critical music journalist' made pretty much the epitomy of 'tacky' music. Being Belgian is for some Dutch a source for ridicule in itself.

2) Nitpicking but the airshow disaster in Ramstein took place on August 28 (not 29) 1988

3) Prodent is big brand of toothpaste in the Netherlands

--

List of other Rammstein OOR interviews

[causesciencethatswhy]

Hi! I have just see Jk tracklist and I wanted to share my op -

First: I don't understand why, only because I like Jk as an artist and person, I have to accept blindly every single thing he does. I have my ideas and morals and I apply them consistently. I like seven, I don't like 3D. I am not a prude, simply I find that 3D it's explicit in a dirty way. For example.

So:

• I don't have problems with not writing your lyrics but I'm a little disappointed that in his first album there isn't even 1 or 2 Jk credits. Yes he surely approved and choose carefully but it's not the same thing to really write them, we can't read the lyrics and be like "that's what he think" because we can't be sure that he specifically approved that phrase that we are "analyzing". Meybe that was the only phrase that he doesn't like lol.

• I know he is working hard and I respect him for that, I'm just sorry he is working at something that is not what in my op a lot of fan were expecting (not that I wanted something specific, just listen to the songs and think "oh this is something he think for real)

• I think that all those songs will be more the 'no deep meaning' songs, again, nothing wrong with it. But when you are the frontman of a band famous for the deep meaning of their songs people have expectations. So for me the problem is that I and other fans wish to have from bts members the meanings, the ideas, the relatable lyrics, the personal style not songs given by random people. So I personally understand who is disappointed and find it valid.

Still I respect his work.

• note: tae doesn't wrote his lyrics too, but in his case Idk if he received the songs or if the songs were made for him, that is a little big difference.

Let me know if you know and what you think! Ty

Hi anon,

Like I said earlier, you're allowed to want different music from him, of course you are. You're totally free in deciding what music of jungkook's you want to listen to and if you prefer seven over 3d, I'm not going to judge you or think you're a prude. It's about preference at the end of the day and I'm not at all advocating people to blindly support the artist you stans music even if you don't like it. Because it's all about preference at the end of the day, and if the disappointment posts I saw were simply just commenting on "Oh this type of music isnt my preference " then I wouldn't mind it.

The problem gets when people are making so many assumptions on the type of artist jungkook is, and judging his decisions in bad faith that are bothering me. It's the constant, "he's korean so I don't know why he feels like he needs to sing in English " that's bothering me.

For your first point, I get it. There's not a lot of theorizing you can do on the lyrics when he's not written them himself. It's actually what stumped me a little with layover because when I had read the four leaf clover lyric in Rainy Days , I got excited thinking it was a reference to Vmin and their four leaf clover story before realising that tae didn't have any writing credits. But then as I thought about it more, there's no way to know whether tae discussed what he wanted to convey what wanted each song to be about and he might have even relayed the four leaf clover story to the writer. Or maybe it's a complete coincidence ! So yes, on that front I get that it takes away from a fun part of fan culture because you don't exactly know what they're singing from real experience and what is just a fantasy. It's always nice to learn new nuggets about your favorite artists and the way they think, buts it not that definitive to me personally, but it may be to you so I get that.

Second point, I mean sure you can be disappointed your expectations of his album don't match up with his own vision, but there really is not much we can do beyond that is it? At the end of the day, he will release the music which he feels is right for him and as long as it's not something terribly offensive or something, we can't really hold it against them for having a different creative vision to what fans had for them. Of course you're allowed to feel disappointed, but people acting like he's done some personal offense against him through his creative decisions is what bothers me.

I honestly think it's not fair to already dismiss all the tracks to have no meaning before they're even out . We literally have zero clue as to what the songs are going to sound like. As to the deep lyrics thing, honestly I think people hold bts to too high a pedestal with how deep their music is. They've talked about silly crushes, wanting to get a girls attention, sex and a lot of other topics which army's now claim they're 'above'. It didn’t sound like that because they were singing in korean and had credits from a member. If it's solely about deep lyrics, then while bts have some incredibly deep and moving lyrics but They've also had incredibly silly ones. If it's about the cool wordplay they do in korean which you're not getting in english releases, then I would say let's wait and see what golden has. English has a lot of avenues for equally fun wordplay/metaphors and we simply don't know enough about golden to have an opinion on this.

So in conclusion, you're allowed to have expectations from their music but I simply don't think it's fair to suddenly turn on jungkook, his artistry and his performances because his work doesn't match what you had in mind.

[dustedmagazine]

Listed: R.E. Seraphin

Whether kicking out raucous, throaty garage jams with Impediments a decade ago, or exploring power-poppier terrain with Talkies and more recently under his own initials, Ray Seraphin tells his stories in the radiance just above the fuzz. Sung low and hoarse, his lyrics blink in and out of reality, propelled by the instruments’ lively buzz and echo. Ruptured by an explosive guitar lead here or punctuated by a tidy, melodic bass riff there, this music doesn’t sit still. It’s familiar but captivating, a potent rock and roll fusion of lo-fi attitude and sweeping hit-record moves. Alex Johnson called his latest release, Fool’s Mate, “dynamic and buoyant… a bright, powerful album with lurid desperation creeping in from the edges.”

Here are 10 of Seraphin’s formative records, books, and movies:

Outrageous Cherry — Out There in the Dark

When I was 17, my bandmate’s partner loaned this CD to me and I held onto it for a number of years before she was able to pry it back. I loved the pairing of Matthew Smith’s arch wordplay and Larry Ray’s mercurial guitar work. They are one of the classic vocalist-guitarist duos to me — up there with Bowie-Ronson, Ferry-Manzanera, Rollins-Ginn. All of their albums are great. Not to sound trite but they really should be better known!

Ralph Bakshi — Wizards

When I was fired from my first job at Arinell’s Pizza, the manager gave me a 1/2 pint of Ancient Age, a CD copy of Butthole Surfers’ Independent Worm Saloon, and a VHS copy of Wizards as my severance package. He proceeded to drink the whiskey with me (at 9am) but, mercifully, stopped short of insisting we watch Wizards together. The film is lifted into classic status by Bakshi’s signature crude and wild animation style despite a fairly ho-hum future-fantasy plot. Still visually arresting.

John Barth — The End of the Road

I was an English literature major in college and, because I fancied myself a Serious Person, I read a lot of books I didn’t understand in my extracurricular time. I’ve read a few of John Barth’s more celebrated, metaphysical works but this early, "realistic" story is the one that stuck with me. There’s a bleakness and ugliness to the book that feels really transgressive — albeit not in an edgy, cornball way. Plus, as someone who probably suffers from some form of executive dysfunction, I somewhat relate to the protagonist Jake’s crisis of self.

The Real Kids — Outta Place

Over the years, my music has largely been referred to as power pop. I chafe against the term a little bit but can't say I’m entirely allergic to it. The Real Kids likely represent my first real interest in the genre. Their self-titled album is their best, most complete work; however, I more frequently listen to their New Rose-era.

Flamin’ Groovies — “Whiskey Woman”

Growing up, the Flamin’ Groovies were the consummate rock group. They represented band-ness to me in a way few others did. In my mind, it’s The Replacements, NRBQ, The Faces, maybe Cheap Trick, and the Flamin’ Groovies. Their early records have this cartoonish, shambolic post-Stones vibe I love — the Roy Loney effect. That said, I was drawn to this somewhat atypical ballad sung by their guitarist, Cyril Jordan. I think this is the song that made me realize you could end a song with something other than a double chorus.

Tommy James — “Ball and Chain”

My record collection did and does consist almost entirely of dollar bin records. I bought this record on a whim at a garage sale and became enamored of James’ weird, Christian bubblegum world. The fuzz guitar (maybe played by Tommy himself?) on this song is absolutely psychotic. Big fan.

Kirsty MacColl — “They Don't Know”

I discovered Stiff Records through a CD box set my mom owned. Initially, I was lured by the rockin’ entries in their catalog: Nick Lowe, Wreckless Eric, Larry Wallis, The Damned, et al. I also adored Rachel Sweet and Kirsty MacColl, though. A perfect song that contains the most affecting use of the word "baby" in the history of pop music.

Thee Headcoatees — Girlsville

I vaguely remember being stoned at a friend’s house when I was 16 and getting introduced to this Headcoatees album. I nicked a riff for one of my first songs, "Pig Out," which I licensed to a vegan pork rind company 10 years later. To this day, I don’t know what song I ripped off and it may not have even been by Thee Headcoatees. But Thee Headcoatees are cool, so here you go!

Flannery O’Connor — Wise Blood

I attribute my interest in American fiction writing to Flannery O’Connor. The atmosphere in her stories is so suffocating and anxiety-inducing — in a good way. I think reading this was the first time I understood the emotional impact great writing can have. I have a slight preference for her short stories now but, keeping in the spirit of this list, Wise Blood was my first, most enduring exposure to her work.

Zero Boys — Vicious Circle

I grew up in Berkeley, home of the Gilman St. Project, and I think a lot of my peers in high school expected me to be into hardcore. The Zero Boys are probably the one the clicked with me the most. They were melodic and seemed still tethered to rock n’ roll. Could be because they cited The Dictators as an influence. I was wearing a Vicious Circle t-shirt the first time I was dumped but I don't hold that against them.

[tayfabe75]

"Being Funny in a Foreign Language" ended up an album in pursuit of love, rendered plainly. "Before, I always debased myself when I became sincere," Healy told me. "I'd be sincere, and then I'd say, 'Oh, I'm only joking,' or 'Oh, I pissed myself,' or something else unglamorous to negate how much I just let you in." At one point, in the studio, he was recording vocals for a track that became "I'm in Love with You," and he kept trying to sneak a "not" into the chorus. Hann stopped him, and said, "Dude, five albums in, everyone knows you're funny. So if you want to say 'I'm in love with you' then just do it. Say it. That's where you're at." Healy told me, "All of the things that used to define my work, or the nihilistic part of one's twenties—postmodernism, addiction, individualism—they're all cool and sexy and appropriate at the time, but, for me now, are those the things I yearn for?" In his personal life, he had found himself wishing for consistency and reliability, "the things we get from a partner that we don't get from the rest of the world." "I think Matty is a deeply sincere person, who can, at different points, be misunderstood because of how much he enjoys a bit," Antonoff said. "If you don't know him, if you don't get him, because you're not really tuned in to the work, you might assume a cynicism that is literally not there." He mentioned the song "Part of the Band." The lyrics are inflected with Healy's persona games, his compulsion to comment on the politics of pop culture, and at least three references to ejaculation. Healy sings, "Am I ironically woke? The butt of my joke? / Or am I just some post-coke, average, skinny bloke / Calling his ego imagination?" And yet it's a beautiful—and, somehow, even understated—song, set to a "Street Hassle"-style backdrop of lilting, bittersweet strings. "That to me is the most exciting part of him and his work," Antonoff said. "That the façade of it can beg so many questions, but that the heart is still so obvious—that it's this deep sincerity, and a longing for love, to love, to be loved."

May 29, 2023: Matty describes the motivation behind the tone shift for The 1975's latest album, 'Being Funny in a Foreign Language'. (source 1, 2)

[nothingtowear05]

Top: Jil Sander Leather Tie-Neck Top ($4,590.00) | Jeans: AGOLDE Jeans (€ 70) | Ankle boots: Bocage TIAGO - Bottines à lacets en cuir Beige (135,00 €) | Handbag: Dorothy Perkins Tan Whipstitch Cross Body Bag (£25.00) | Earrings: Oscar de la Renta Cluster Button Brass Earrings ($470) | Hair tie: Jigsaw ELASTIC HAIR BAND (£4)

This week's featured Disney hotel is the Disney Davy Crockett Ranch at Disneyland Paris. As someone who has mostly visited Walt Disney World, the Davy Crockett Ranch reminded me of the cabins you can find at Fort Wilderness. The entire "hotel" consists of a series of cabins in a wooded area that is a 15-minute drive from the park.

I decided to create an outfit inspired by the natural environment of the area and the character after which the resort is named. Although I couldn't find a top that looked exactly like the one worn by Davy Crockett, this Jil Sander top is pretty close in terms of color and relaxed fit.

For bottoms, I opted for a pair of jeans that are perfect for exploring the wooded areas of the property. Speaking of exploration, one needs comfortable and practical footwear to explore the area, so I selected these Bocage ankle boots.

To complete the outfit, I added a brown handbag that is perfect for carrying anything you might need while walking around the woods or parks. I also included a taupe hair elastic to make a ponytail, taking the place of Crockett's famous raccoon hat. Finally, the earrings provide a small reference to the lyrics of the Ballad of Davy Crockett, where it is stated that he was born in the "greenest state in the land of the free.”

Overall, this outfit is a great way to enjoy the natural surroundings of the hotel while also paying homage to the character after which the resort is named. With comfortable yet stylish clothing and practical accessories, this outfit is perfect for exploring the wooded areas and enjoying the parks.

[daggerzine]

Mainland Break – One Way Ticket to Midnight (self-released)

The title track to One Way Ticket to Midnight references early 80s heavy metal with a line nodding to Ozzy Osbourne and another mentioning an unnamed song by Dio after a quip about having hair swept back. The title is also a reference to the Sammy Hagar song “Heavy Metal” and let's hope the better version from the soundtrack to Heavy Metal: The Motion Picture and not that included on Hagar's 1982 album Standing Hampton. But you're not going to hear heavy metal on this album full of bright and upbeat power pop. What you will hear is a poetic and insightful evoking of memories that reignite one's emotions and often that can be triggered by feelings of nostalgia or romanticizing a time or place you may not have experienced because of its appeal and how it is anchored in your imagination. Drawing on a specific set of cultural references that have stuck with people who experienced that glorious time of the popularity of heavy metal before it got a bit tarnished later in the decade was especially deft.

The sparkling guitar work of “Portland” serves as vivid contrast with lyrics that seem to be about going to a city about which one has heard so many wonderful things and it stands as almost legendary in your mind until you get there and no place could really ever live up to expectations. Throughout the album Mainland Break reveals a consistently surprising knack for crafting melodies and moods unique to each song even given a consistent style. The layered guitars grounded by rhythms that are almost as atmospheric and textural as they are at guiding a pace. One gets the sense that at least one person in the band has “tried out” cities other than home only to find that you can't escape your own mind and that a social support system you took for granted isn't exactly transplanted or immediately at your fingertips in a place you haven't set down any roots. The title track brings to mind the headspace you can talk yourself into when you put all your hopes on one shot thinking that might be it but along the way ignoring other actual opportunities that would serve your life and personal aspirations better. The record hits like an adult coming of age story cycle and coming to terms with the way you've lived your life and trying to get crushed under by your regrets and bitterness at all the times you took a wrong turn on your life's journey. In the end, nostalgia and fond and not so fond experiences are memories and one thing is true as you age, indeed, “Memory Fades.” Fans of The Feelies, Let's Active and the perhaps slightly more obscure indiepop group Desolation Wilderness will appreciate the ways in which Mainland Break expresses the depths of melancholy and the will to use the power of creativity through music to give those feelings a form that will resonate with listeners who may not share anything like the specific biographical details but will recognize those feelings articulated so vividly and know they're not alone in their grappling with complex feelings. (REVIEW BY TOM MURPHY)

[dunderbread]

TELL ME ABOUT FRONT IMAGE!!!!! *eats and bites ur ocs* *places them in a little box and shakes them*

Front Image

"Front Image was an American rock band formed in New York City in 1969 [1]. Their original lineup consisted of lead singer Camembert (Bert) LaRue, guitarist and songwriter Emmenthal (Emmet) Riesling, bassist Brie LaRue, and drummer Chester "Cheddar" Donovan. Originally a thesis project by producer Roquefort Lang, the group is often colloquially referred to as "Fromage" due to the band’s name and the fact that each member is coincidentally named after a type of cheese [2]. Their musical style evolved greatly over the course of the band’s career, from psychedelic surf-inspired rock in the late 1960s to harder rock in the 1970s. The group infamously struggled to find commercial success until the release of their 1972 album "Jackal and Hide" and their joint "Victory Lap" tour with British rock group Idle Warship in the summer of 1973 [3]."

Personal Relationships

"Riesling, Donovan and Bert LaRue have been friends since childhood. Says Bert: “It was nice having Emmet and Chester around because I knew I could always rely on them. They were the only two people who I thought saw me for who I really was: a scared kid from California who’d just had to leave half his family behind. We had this thing we’d do where we’d “play band” with Chester’s uncle’s old stuff, and I guess that started evolving into something bigger. By the time I recruited my sister to play bass for us, Emmet was churning out lyrics basically every day. I think we knew we were on to something good, we were all just too scared to realize it” [12].”

“Speculation about the nature of the relationship between Riesling and Bert LaRue was confirmed in 2004, when the pair were married in Massachusetts after it became the first U.S. state to legalize gay marriage [13]. The two had reportedly been close for years beforehand, but were notoriously closed-off when it came to rumors about each other. Says Riesling in a 1982 radio interview: “Everybody wants to snoop all the time, that’s the job of the press is to snoop. When you’re a well known person they think they have access to your entire personal life. Bert and I are close and have a good relationship – what more do you want?” [14]. Prior to the announcement, Bert had publicly come out as gay in 1986, and the two were confirmed to have been living together in an undisclosed location.”

[precuredaily]

Precure Bonus Day: YPC5GG ED 2

It’s been.... far too long since I reviewed some music. Go Go episode 30 brings with it a new ending theme, and the third rendition of an old favorite. The opening hasn’t changed, so refer to my earlier review of that if you missed it or want a refersher. Also, for reasons that will soon become clear, here’s my thoughts on YPC5 ending 2 and Splash Star ending 2.

And here’s a gallery to get you started: https://imgur.com/a/gCCCmWo

Yes! Precure 5 Go Go! Ending 2: “Ganbalance de Dance ~Kibou no Relay~” (Relay of Hope) by Cure Quartet

Cure Quartet is a supergroup formed for this album comprising Gojo Mayumi, Uchiyae Yuka, Kudou Mayu, and Miyamoto Kanako. AKA all the theme song singers from the first 5 series. The B track on the single is a kind of medly/tribute to all the shows in honor of the 5th anniversary.

As usual it’s a catchy bop, this time with a little more of a full band sound to it. The animation consists of everyone doing the now-familiar dance in front of Natts House or other locations. The very first shot is the girls running out of the house and leaping into the air, wearing cheerleader uniforms. These are not seen again in this ending, or anywhere else in the show. It has always struck me as strange that they were designed and used for this one shot only.

There are no counting gags like in the previous few outros, everyone does their part and well. The moves are more or less the same as in previous Ganbalance de Dance renditions, which is to say, kind of silly. The lyrics are somewhat altered once again from the Y5 version, this time dropping any slightly negative causes from the preious version and going into full optimism. Essentially the lyrics say “keep your chin up and dance the ganbalance and everything will be okay!”

Halfway through, the girls all transform into their Cure forms and perform the rest of the dance that way. Real-time transformations are rare so it’s nice to have that here, for the remainder of the show.

While most of the dance moves are the same as ever, they simplify one step, where the characters face their backs to the audience during an instrumental transition. In the Splash Star version, the villains performed this step and were shown twisting one way and then the other. Here though, it’s just stills of the girls and fairies.

There’s some weird and funny scenes that don’t fully make much sense, like Mint and Aqua holding dishes containing bean jelly and lobster, though this is probably a reference to their questionable cooking abilities.

Also, that scene contains a brief shot of Jiya and Otaka, as well as two Cinq Lumiere students. I initially thought they were Kudou Mayu and Miyamoto Kanako, who got guest appearances in the show once last season, but they aren’t. Next I thought they might be student council members, but while the girl with pigtails resembles someone we’ve seen, I can’t find a match for the girl with straight dark har. She actually loosely resembles Honoka from FWPC, but most likely they’re just generic student designs.

Speaking of cameos, Masuko Mika appears in the ending for the first time! She’s trying to snap a picture of Lemonade and the other girls are confused/excited/upset at this.

When played at the 1080p of the blurays, the digital art looks a bit upscaled, while the CG roses used for scene transitions are extremely detailed. It’s a jarring contrast now that I’ve noticed it. Otherwise, the animation and art is good, perhaps not the best it could be, but fine quality for the remainder of the show.

The ending concludes with this nice group shot of everyone mugging the camera, it’s really fun.

The instrumentation in this one is a lot of light brass, strings, a piano, a rhythm guitar, and a drum kit. There’s a small saxophone solo in the full version. The flow is smooth and upbeat, and it feels more full than the previous versions of the song. The presence of four singers also helps this sensation. There are usually at least two people singing at the same time, with the others on backing vocals. Sometimes they’re all four singing the melody, and sometimes it’s just Miyamoto. However, I think it’s my least favorite at the same time. I liked the tune because of its simplicity, and making it a big composition takes away from that in my personal opinion.

I mentioned in my review of the first ending that I liked it better than this, and I stand by that statement. I think Yes 5 remains my favorite version of the song, but it’s the last time we’ll see it, and when we hit Fresh the CG dance endings begin in force. Look forward to that, and look forward to the rest of this show!

[my-chaos-radio]

Release: April 25, 1988

Lyrics:

How does it feel

To treat me like you do?

When you've laid your hands upon me

And told me who you are

I thought I was mistaken

I thought I heard your words

Tell me how do I feel

Tell me now, how do I feel

Those who came before me

Lived through their vocations

From the past until completion

They'll turn away no more

I still find it so hard

To say what I need to say

But I'm quite sure that you'll tell me

Just how I should feel today

I see a ship in the harbor

I can and shall obey

But if it wasn't for your misfortune

I'd be a heavenly person today

And I thought I was mistaken

And I thought I heard you speak

Tell me, how do I feel

Tell me now, how should I feel

Now I stand here waiting

Songwriter:

I thought I told you to leave me

While I walk down to the beach

Tell me how does it feel

When your heart grows cold, grows cold...

Peter Hook / Gillian Lesley Gilbert / Stephen Paul David Morris / Bernard Sumner

SongFacts:

'Blue Monday' is the most successful and best-known song by the British new wave band New Order and, due to its innovative sound engineering and early sampling sounds, is considered a pioneering piece of electronic dance music and synth pop as well as a pioneer of techno. The original version of the track was released in 1983 on the 12″ maxi single of the same name.

The song, consisting of four verses, begins with a pounding sixteenth-note drum machine beat (Oberheim DMX), into which keyboardist Gillian Gilbert slowly fades in a melody as a sequencer loop. According to the band members, they did it in the wrong place, causing the melody to run out of sync with the beat; the supposed "bug" was eventually retained as a welcome feature. The piece then builds up in a cascading fashion; after an unusually long intro, consisting of a pulsating Moog synthesizer sequence and Peter Hook's electric bass line and hi-hat breaks, the vocal part of the piece finally begins, performed emotionlessly and somberly by Bernard Sumner. Uncharacteristically for a "hit song," Sumner, as the song's lyricist, chose not to use a standard verse as the chorus. A staccato of sound effects follows: a succession of drumbeats resembling machine gun fire, and the then-popular synth pitch-bending sound of a "crashing airplane" that can also be found in the long disco version of Soft Cells' Tainted Love' (1981). The piece culminates in a spherical chorus sample and multi-track superimpositions (overdubs) of synthesizer melody and bass line, until it finally fades out.

As with most New Order tracks, the title bears no relation to the lyrics, which again leaves a lot of room for interpretation; Although Sumner rarely comments publicly on his lyrics, a reference to the suicide of Joy Division singer Ian Curtis and statements about the effects of Curtis were constructed, as has often been the case since the former Joy Division band members began as New Order ' Death imputed to the remaining. Hidden allusions to drug experiments were also suspected in the text, and that the band had been on an LSD trip during production.