whatgenesis

[whatgenesis]

DIE YOUR DAUGHTER

#🥡 — “getting old looks good on you, but god, someone make it stop”

Released on February 2, 2024, "Die Your Daughter" by Susannah Joffe was produced by Cella Raiteri and written by Susannah Joffe & Cella Raiteri. A song about parent’s mortality and knowing one has no control over it, the song has approximately 2 million streams on Spotify.

the original message of the song is the regret and grief a daughter feels after accepting the inevitable loss of a parent. i first interpreted this differently. i was pained and embarrassed by my personal upbringing. i can’t escape my roots, no matter where i wander. i’m cursed with a childhood i can’t hide from, for it seeps into my every action. everyone will know me as your daughter. now that she’s passed and i saw her lowered into the earth… i’m a daughter of the universe, i guess. someday, i’m gonna die too. now my worries about my childhood and who i am, you know, they seem a little smaller.

[whatgenesis]

“WHAT”

could you be any more careless?

Roy is a salesman in 2000s NYC. On his way to a Christmas party he really doesn’t care about, he drops his groceries into a sewer. Suddenly, a man tackles him into an alleyway. Why? Because he was framed for throwing the entire world out of whack. But not the regular world. He’s teleported to another world beneath Earth that defies any kind of logic Roy knows, and everyone there is adamant on getting Roy to fix things. There’s only one problem though: he has no clue what he really did. Now, he needs to figure out not only how to save this alternate world, but get back to his own, all while juggling this surreal world he had fallen into.

A twist on A Christmas Carol, Roy discovers the true meaning of Christmas through a mind bending and terrifying journey through the Lower Earth, while also going on a journey of self discovery that might take more from him than he could ever imagine.

> > playlist explanation (coming soon…)

> > characters (coming soon…)

> > book covers

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[whatgenesis]

MY STORIES ₊˚✧ ﾟ.

SUSAN’S DYING – you cannot blame a man for running

WHAT – could you be any more careless?

LOVE GROWS (coming soon…) – the crime, the time

HE’S MONOLOGUING AGAIN (coming soon…) – two men, one mission, 183728+ monologues

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[whatgenesis]

“SUSAN’S DYING”: PLAYLIST

SONGS INCLUDED – misses : bird song : one : velvet ring : jobless monday : bless the telephone

misses (dominic fike) – “oh, i loved you, miss / and you will be grieved, i swear / but i won't be blamed / 'cause i loved you, miss”

death is gentle. he is not compassionate with sincerity, or humane sincerity at least. but in a strange way, susan will be grieved. he’ll hang above death’s head. death did the best he could, it wasn’t his fault. it wasn’t.

bird song (florence and the machine) – “well i didn't tell anyone, but a bird flew by / saw what i’d done he set up a nest outside / and he sang about what i’d become”

susan does have power over death, not because he holds some deep secret or because he’s more than he seems. it is because he’s human that he can scare death. a finite man has finite power, but he is a man and the power is in his hands.

> “but he sang louder and louder inside the house / and no i couldn't get him out / so i trapped him under a cardboard box / stood on it to make him stop”

what else was death supposed to do? in the same way he does not hold human sincerity, he doesn’t hold human patience either. he has a job to do.

> “i picked up the bird and above the din i said / that’s the last song you'll ever sing / held him down, broke his neck / taught him a lesson he wouldn't forget / but in my dreams began to creep / that old familiar tweet tweet tweet”

death left the same mark on susan that he leaves on everyone, an everlasting mark. but susan was there, and death was along with him.

one (harry nilsson) – “one is the loneliest number that you'll ever do / two can be as bad as one / it’s the loneliest number since the number one / no is the saddest experience you'll ever know / yes, it's the saddest experience you'll ever know”

we can all laugh at how lonely susan’s life is. he formed it around his loneliness and has no benefits to show. however, while death was immortal and inhuman, he was tangible if only for a moment, and stood by susan’s side. so can you blame him?

velvet ring (big thief) – “love is a gentle thing / yours is thicker than a velvet ring”

love was suffocation when it came to susan. maybe it was more than love—it was curiosity and concern and fear. but when susan tried his best to be good, he’d kill it. smothering someone in love is still smothering them.

> “he loved her like he loved no one / the way she laughed and held a smoking gun / the way she always said "what’s done is done" / and he is not the only one”

now, what susan fails to understand is that he is not the first human death has met. he is and always will be predictably unpredictable.

jobless monday (mitski) – “oh, i miss when we first met / he didn't know me yet

susan is under the guise that he crumbled the longer he stayed around death. what he doesn’t know is he was dust from the start. and what death doesn’t know is that whatever pang he feels in his chest at strange times, is something out of his control.

bless the telephone (labi siffre) – “it’s nice to hear you say "hello" / and "how are things with you? / “i love you" / but very soon it's time to go / an office job to do / while i’m here writing songs for you

we all want company. at times, death’s cordial manners are tricky and trapping; he doesn’t even mean to at times. and yet, his soft voice is fleeting and soon the dirt is covering your body.

> “it’s nice, the way you say my name / not very fast or slow, just soft and low / the same as when you tell me how you feel”

susan knows he loves death. he’ll never say it, but he doesn’t have to. he oozes this love for him like mucus, disgusting and tainting. susan’s drowning in it and it doesn’t bother him because he only is barely aware.

honorable mentions: ma chérie (malice mizer) : a human’s touch (TWRPtube)

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[whatgenesis]

“SUSAN’S DYING”

you cannot blame a man for running.

Death has been around for millenia, doing a duty that has been ingrained in his very being. He does not rule an underworld, or answer to a god; he is not even aware if one exists. But he doesn’t care to find out. He has a job that he sees to an end everyday, and when things go awry, as the world naturally does, he is there to straighten it out. Meet Susan, who drinks like a fish and has no aim in life but to go to work as a line cook, go home, and wake up to work the next day. When Susan nearly gets hit by a car crossing the road, Death swoops in to save him: it’s not his time yet. But once Susan realizes that there is a grim reaper out there, he becomes horribly curious about what’s beyond the miserably normal life he’s carved out for himself.

A story about struggle, mortality, and acceptance, Susan’s Dying talks about what it means to use the limited time a person has, as well as human nature. Their morals and hopes, and how their curiosity might be too much for any of them to survive.

> > playlist explanation

> > characters (coming soon…)

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[whatgenesis]

THE WINNER TAKES IT ALL

#🧣🎏 — “the gods may throw a dice, their minds as cold as ice, and someone way down here loses someone dear”

"The Winner Takes It All" is a song recorded by Swedish pop group ABBA. Released as the first single from the group's seventh studio album, Super Trouper (1980), it is a ballad in the key of G-flat major, reflecting on the end of a relationship. The single's B-side was the non-album track "Elaine". The song peaked at No.1 in several countries, including the UK, where it became their eighth chart-topper.

i am not at all protective of this one, it is a classic and i love the spotlight it has. it deserves it and i love it and i’ll never get sick of it. the only downside is that there are more people that love it and fewer people that can feel it in the veins. yeah, the lyrics are clique at points, but this song is composed in a way i’ll never be able to understand. abba was possessed when they found the way to write this song. this song also ties into the story i have, what, and it’s so dramatic. it’s heartwrenching and beautiful and i could have it on loop for hours. the winner does in fact take it all and the loser does in fact have to fall. you just don’t get it!

[whatgenesis]

[SECRET SONG]

# 🛋️ — ???

[SECRET SONG] is a song by Scottish singer-songwriter [CLASSIFIED], released as a single in July **** in the UK (October **** in the US). The song is the title track of his **** album [CLASSIFIED], and was recorded at [CLASSIFIED], in January **** by engineer [CLASSIFIED]. The song peaked at number 8 on the Billboard Hot 100 for the consecutive weeks of March 5 and 12, ****. Although his highest placed single on that chart was ****'s [CLASSIFIED], [SECRET SONG] has remained his signature recording, receiving regular airplay on both classic rock and folk rock stations.

you have no idea how much this song hurts me. the first trill on the piano hurts my soul like nothing else, i can recognize it in one second, maybe (definitely) less than one. it’s like a favorite perfume that i can only put on for special occasions, something even i can’t touch for too long in fear of tainting it, and something i can’t mention by name in fear of not doing it justice. even making this anonymous post doesn’t do it justice—the pictures aren’t perfect enough for the ambiance the song has. it haunts me. i think a fortune teller hopped on a radio station to tell my future by giving me this song. i’ll find myself in the singer’s shoes over and over and over again. i said california dreamin’ would be a song i have to listen to alone on a road trip. this would play before that one. this song i have to listen to alone. i need to be in my car, 10 years from now, when everything has changed and at my core i haven’t changed a bit, and the singer can take a breath and laugh at me mid-verse, and he can only laugh because he’s been right where i was. i need to live long enough to get that. i hate gatekeeping but this song has to be mine. so much so to the point where if anyone mentioned they liked this song, i’d pretend i didn’t know it.

this song is scribbled doodles by a troubled, down-on-their-luck journalist. it’s the dank alleyways that strays hide in for shade. it’s the final bus you miss, and you can’t tell if you were trying to even really catch it. it’s wandering in a city you’ve known for forever, but with someone else, it’s suddenly so much different, almost magical. it’s the gentle rain from a balcony of your small apartment, as you avoid the papers you should be working on which are now tanning in the sun. it’s blue tiles on building exteriors and your eyes run over its glossy finish. it’s losing everything in the quietest way, and the worst part was that you saw it coming from the start.

[whatgenesis]

BAGS

#🧸 — “can you see me using everything to hold back? i guess this could be worse, walkin' out the door with your bags”

"Bags" is a song recorded by American singer-songwriter Clairo. Fader Label released it as the first single from her debut studio album Immunity on May 24, 2019. The song features drums from Danielle Haim, and was produced by Rostam Batmanglij and Clairo, who also wrote the song. It gained over 20 million streams in 2019, and was nominated for "Song of the Year" at the 2019 Boston Music Awards.

i first heard this song performed by jaden at palooza—yes, this song is tied to jaden in my head. he always had “cool” music taste, and he always listened to indie music and underground bands. but hearing him play such a soft and vulnerable song completely caught me off guard where i was, standing in the center of our school’s auditorium. it was ironic: jaden was singing a song about not wanting to spill ones guts in fear that the other person could walk away from them, and all i wanted was the same with him. i find myself falling for people who prioritize others more than i prioritize them, over and over. and it hurts. one day i’ll be lying in a bed, drowning in white comforters, as someone buttons up their shirt not knowing i’m awake and watching them leave. and in that moment, clairo would have fortold everything, down to the fluffy pillows holding up my head.

[whatgenesis]

FUNNY

# 🎏 — “who could top or make this comic opera more compelling? you could weave in some deceit to even up the score. you’d have us all on the floor. that would be roaringly funny”

“Funny” is the 11 o’clock number in the musical City of Angels, a satirical comedy, which takes a critical look at Hollywood through the eyes of Stine, a successful writer who is adapting his latest novel into a film. The musical explores two parallel storylines: one following Stine's struggles to adapt his novel, and the other taking place within the world of the film he's creating.

the drama of this song is unmatched. yes, the musical isn’t totally amazing, it’s just a silly show. however, funny just makes me feel like i’m having a breakdown in the 1940s after everything i worked so hard for just collapsed at my feet. it’s funny! it’s so horrible it’s hilarious, even! the hollywood lights are too bright and the reporters are laughing and all the documents have been shredded to pieces and i could just die! not to mention, obviously, i am the number one noir fan. like, number number one, no one likes it more than me, shut up.

BONUS: WITH EVERY BREATH I TAKE (DUET)

# 🎏 — “i try to tell myself to let the memory of you die slow by letting time be my friendc by letting go of what was, the pain would end. it never does”

[whatgenesis]

MEET THE GRAHAMS

# 🎏 — “never let a man piss on your leg, son. either you die right there or pop that man in the head, son”

"Meet the Grahams" is a diss track by American rapper Kendrick Lamar. It was released on May 3, 2024, during his ongoing feud with Canadian rapper Drake. It is Lamar's response to the release of Drake's "Family Matters," a diss track mainly aimed at Lamar. “Meet the Grahams" premiered roughly 30 minutes after the release of "Family Matters".

this song is pure rage. not mother mother rage, or screamo music rage. this isn’t a diss track, it’s a report. while there has always been terrible drama and fighting surrounding celebrity culture and rap music, kendrick releasing this track is him backing up the people and victims of sexism, racism, and the powerful people of the industry. rap and hip hop music has always been around to spread a message, but kendrick elevated it simply with the fury he has about drake and what he’s done—i don’t even know much about the feud but one look at the lyrics and your life is changed. yes, the instrumentals are haunting and the bars are crazy, but this is such a powerful song overall.

[whatgenesis]

THIS NIGHT HAS OPENED MY EYES

# 🎏 — “he kicked and cried like a bullied child, a grown man of 25, oh, he said he’d cure your ills. but he didn’t and he never will”

"This Night Has Opened My Eyes" is inspired by and retells the events of the play "A Taste of Honey" by Shelagh Delaney. The song is featured on two of the Smith's compilation albums: "Hatful of Hollow" and "Louder Than Bombs". The song was only ever recorded for the September Peel Sessions - a feature on John Peel's Radio 1 show.

when i tell you i could have picked any of the lyrics from this song, i mean it. now, i’m not actually a deadbeat, neglectful father, but all of the lyrics morrissey writes, and johnny marr’s music theory are so poignant that i can’t help but sink into the story and empathize. he’s talking about the loss of childhood, and a girl that is not responsible for everything that happened to her, but because of the world, it’s her fault. i feel like it’s my fault. or this was all just bound to happen. if i exist in the way that i do, this will happen every time. it’s not so much fate from outside forces, but the trap i’ve set for myself the moment i was born. what do i do with that?

[whatgenesis]

JOBLESS MONDAY

# 🥡 — “he only loves me when there's a means he means to end. oh, i miss when we first met, he didn't know me yet”

"Jobless Monday" is the sixth track in on Bury Me at Makeout Creek by Mitski. This song captures the sense of being in a relationship that is on its last legs, having experienced the honeymoon period and entering the hard winter where it will, surely, die.

i know people always say that being a teenager means you think everything is ending around you and you’re the worst person alive. but like i do! feel lile the worst person alive sometimes! so instead of using that logic, sometimes i do want to let myself feel it. mitski is tragic, and people say it’s not good to listen to sad music all the time; i listen in moderation. it also doesn’t help that i’m a writer and need it to get in the mood. but trust me, i’m being wise! anyways, i feel like too many people got disappointed when they got to know me, and it sucks. beginnings of friendships are so nice because i can kind of hide. thanks mitski for assuring me that i’m not alone.

[whatgenesis]

LAURA

#🧣 — “then these careless fingers, they get caught in her vise 'til they're bleeding on my coffee table”

"Laura" is a song written by Billy Joel that was first released on his 1982 album The Nylon Curtain. Producer Phil Ramone described the song as being "philosophical and dark." The lyrics of "Laura" depict the singer as being co-dependent on a woman named Laura. Musicologist Walter Everett describes Laura as being "an aggressive woman who traumatizes the singer."

accidentally, i found myself in the position of laura a few times throughout my life. i know i can be a bit heartless if i don’t like someone, and my first reaction to not getting what i want is poking at someone emotionally because i’m kinda immature. this song is so pretty and it’s not over the top in the way you’d get sick of it quickly, or you can only listen when really mad. one of my characters in the book i want to write, what, is a carbon copy of this song; i like it that much. billy joel is super cool, i should listen to more of his work. but anyways, laura is ruthless and i love listening to the story in the song. it’s kind of cathartic? but maybe it’s cause daniel pisses me off and people like him are at the mercy of people like laura

[whatgenesis]

CALIFORNIA DREAMING

# 🍙 — “you know the preacher like the cold, he knows I'm gonna stay, california dreamin’ on such a winter’s day”

"California Dreamin'" is a song written by John and Michelle Phillips in 1963 and first recorded by Barry McGuire. The best-known version is by the Mamas & the Papas, who sang backup on the original version and released it as a single in December 1965. The lyrics express the narrator's longing for the warmth of Los Angeles during a cold winter in New York City. It is recorded in the key of C-sharp minor.

this song just makes me wanna travel, you know? like i wanna be in my 20s or 30s in a car that’s aged with me, decorated with memories. i’ll hit a road and i’ll be the only one on it for as far as i can see. it’s lonely to think about, but i think this isn’t the kind of thing you can have with someone else. you have to feel it on your own. the window’s down and i’ll smell pumpkin and cinnamon in the breeze with a hot apple cider in my hand—a cigarette too if i ever were to smoke (i never would). if we’re being real silly, i’m a vagabond, like a supernatural hunter, checking out a new town. but my yearning for connection is clear every time i talk to a stranger before i’m gone the next day. wherever i’m going, at least i’m not running away from something or at least i’ll be telling myself that

[whatgenesis]

GENESIS

# 🍙 — “home and i know, playing the deck above, it’s always different, i am the one in love”

"Genesis" is a song by Canadian singer and songwriter Grimes, released on January 9, 2012, as the lead single from her third studio album, Visions (2012). The song is one of Grimes' most successful releases so far, as a result of the song's music videos becoming viral, mostly through micro-blogging site Tumblr. The NME placed the song at number 16 on its list of 50 Best Tracks of 2012.

genesis kind of makes me feel like i’m not human sometimes. or maybe like there is something about being finite that is connected to something more grand, and i just don’t know it. maybe it’s the fact that we are part of something grand that we are able to have moments of spectacularity. either way, it makes me just wanna dance around my room and flail my arms. i can just exist and move and sweep myself off my feet. it’s very reassuring, and a little exciting

[whatgenesis]

MY SONGS ₊˚✧ ﾟ.

if you say they’re yours, shut up >:(

genesis : california dreamin’ : william it was really nothing : laura : [SECRET SONG] : meet the grahams : jobless monday : funny : bags : this night has opened my eyes : the winner takes it all : duvet : bigmouth strikes again : i’m forever blowing bubbles : die your daughter

> > key explained . . .

# 🛋️ ˚₊‧ – you actually cannot touch this song im so serious

# 🍙 ˚₊‧ – this is the train on the tracks of my veins

# 🥡 ˚₊‧ – who spoke to my soul and used it for their song

# 🎏 ˚₊‧ – if only i understood music theory to translate my urges

# 🧸 ˚₊‧ – memories and history

#🧣 ˚₊‧ – all the stories that live in my head

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[whatgenesis]

— “oh, he said he’d cure your ills… but he didn’t and he never will”

˚₊‧⁺˖ name: tor

₊ ‧⁺. ˖ waiting… here’s my cardd

> > my songs ₊˚✧ ﾟ.

> > my stories ₊˚✧ ﾟ.

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