#But I can understand how singing alongside someone that seems to be more classically trained could be intimidating for him.

[fanfuckingfic]

You Move Like Real People Do

(Choreographer!Jimin x Ecologist!Namjoon x Singer!Reader)

Summary: Sometimes loving someone is just too easy. It just sinks into you so deeply or floats you away so high either way it shouldn't be hard to hold on to.

Wordcount: 2.6k

Warnings: (Sappy fluff, polyamory, lots of talk about bog bodies, excessive amounts of admiration, the songs are literally Hozier’s and you should listen to them if you haven’t, oh my god this is so self indulgent)

A/N: I haven't written in like 3 years and I've never tried bullet fic style so please be nice :( also I love Hozier so much oh my god I literally just built a whole universe in my brain around his music + bangtan and I think Movement fits Jimin so well and LRPD is a sick song and Joon is a just weird nerd but anyway please enjoy and lemme know what you think! 

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Namjoon is an ecologist and Jimin is a choreographer and Y/n is a famous indie-rock blues singer/songwriter (literally just fucking Hozier because I love that man with every bit of my heart).

You and Joon are early risers and spend mornings sipping coffee and reading together on the couch while you wait for Jimin to get ready for the classes he teaches alongside being a choreographer so they can kiss him good morning and wish him a good day when he leaves.

You’re sure to put extra honey in his green tea to-go cup, and he kisses you both quickly on the cheek before scurrying out the door.

They both kind of fiddle around with their day cause Joon is a professor at the local university and only has classes twice a week and finished grading that last assignment yesterday.

So now he's watering his plants and terrariums in the greenhouse porch you all have and your sitting there fiddling with your guitar, messing around with some chords sometimes writing them down sometimes not.

Casually you ask Joon which student had the best paper.

“One student went out of their way to be a kiss ass if that counts.”

You ask how he means with a chuckle.

“Well you know how I've been writing a thesis about bog bodies and what-not?”

“Yes of course, love, you only remind me of the phenomenon every chance you have.” You look up at him with mock disdain. 

His eyebrows furrow, “I thought you liked talking about the bog bodies” He pouts and you honestly can't even try to deny it.

“I do, I think it's kind of beautiful- not like dead people that's shitty- but when you describe how the swamps and bogs preserve them and how they’re found.” You take in a deep breath mulling over your words for moment.

“You make things like that sound so beautiful, Joonie. Even if I don't get half the big sciencey words you say. It sorta sounds like people falling in love with something they shouldn't but doing it anyway.” You smile to yourself thinking of him talking to (mostly at) you.

Namjoon still gets flustered easily by your and Jimin's creative ways of declaring your love.

He hears Jimin's tinkling laugh in your music and his own words in your songs, sometimes he feels like he doesn't love you both back enough but you both are quick remind him that he doesn't show love through notes and twirls

He shows them through flowers he picks and the way he's always willing to interrupt himself to explain something when he sees confusion in either of your eyes, because he knows you want to but wont stop his train of thought, you both want to understand what he's babbling on about because you love him.

(And he looks so fuckin hot when he goes on his passionate rants about certain bacteria being the back bone for an entire ecosystem how could you not?)

He blushes and clears his throat.

You always find the beauty in everything, can turn just about anything into a love story, a poem.

He loves that about you and Jimin you're both so able to make the world more beautiful with your bodies and minds. You both love that he adds so much sustenance to that beauty. 

“You're right, bog bodies deserve love, just like any real person does. But a student wrote their paper on them and used me as a source in their reference page.” He huffs, still amused by the students' tenacity. 

“Any real person, huh? You gave them an A didn't you?” You absorb his words before deadpanning.

Namjoon doesn't answer and instead bends down to kiss your lips then your forehead before he goes back to being very interested in how his Venus fly trap is doing.

Some days when your writer's block is extra bad and you've been struggling to come up with lyrics that mean anything or chords to go with them, Jimin asks if you want to come with him to the studio.

He's just experimenting with some new choreography so it's just you two. 

He notices when you get into these slumps you can't quite reach your way out of and staying in the house all cooped up trying to get inspired by the same things you see everyday isn't going to help. 

It's a classical piece a dance company hired him to choreograph, wordless dancing was always his forte.

Feeling the music move through him and around him, throw him to and fro. He likes to feel like a tool of expression- like an instrument to be played. 

You watch him work and think and move, over and over again, something just slightly different each time just slightly closer to what he wants. 

He's breathless by the time he comes to sit next you against the back wall he saw you staring the whole time and loves how he can still make you and Joon speechless and swooning even after all the years together. 

“Sometimes I forget you're real, you know, when you dance.” You murmur head on your knees still in a daze after watching him.

Jimin quirks an eyebrow and smirks.

“The hell does that mean?” He simpers, knowing you're probably about to say something that will completely floor him and make him fall for you even harder. 

“You just stop looking real I guess, you look like if I reached out to touch you, you would still just be barley out of reach, like driving towards a rainbow or a mirage, ya know?” 

He quirks his head, not really understanding what you mean but trying to.

“You're just so good at using your body to show a concept you almost kind of become one. I don't know, mostly, I just feel like I'd chase you forever if you really were unreachable like that, I don't think I'd mind.” You shrug and reach for his hand to fiddle with. 

He exhales in surprise. He was absolutely right. Floored.

“Would you dance with me? Running after me doesn't sound as pretty as us dancing together forever.” He asks twisting you fingers with his.

“I don't think I'd have a choice not wanting to dance with you would be like not wanting to breathe.”

He sighs dramatically. “Babe! How am I supposed to be okay after you say shit like that? Huh?” He laughs and shoves your shoulder playfully.

You laugh and fall over pulling him with you. 

Namjoon comes by later with drinks from the cafe he knows Jimin loves and finds you both slow dancing in the middle of the empty studio.

You both pull him in between you and continue to sway back and forth. It's sweet and romantic and your drinks go cold before any of you are ready to let go of each other.

Your latest album was amazing and you're about to go on tour and you're nervous to be away from your guys for so long cause last time you went on tour you weren’t as famous and such didn't go to different countries to perform. 

You're gonna miss them terribly and they miss you twice as bad and they definitely bawl their eyes out when your tour bus is out of sight.

They tried really hard to keep up the smiles for you cause you deserve the success and the recognition without guilt or reservations but wow the house is so quiet without your absent-minded humming and strumming and no knew pieces of paper with potential lyrics scattered around the countertops. 

You all keep in touch of course- face-timing at least once a day with both or either of them and you ask them not to watch any recorded performances cause you don't want them to spoil it for when you come back and do your final home concert. 

Your reason being: you left two songs off the album you wanted to perform on tour.

So now it's your last concert before you get to sleep in the same bed as your loves again, they arrive early but you're still too busy with sound check and your drummer having boyfriend problems to get more than a hug and kiss to each of them. 

They don't mind though they know how concerts are for you. You love them- you get to give your fans a bit of your soul and they all give a bit right back. 

They meander through the crowd towards the front not too close though. Your manager tried to get them to stay backstage but they both wanted to get the full experience since they did as promised and had steered clear of any footage of the concert. 

When you walk out everyone lights up and the energy in the whole concert hall shifts.

You smile so bright and they're close enough they can see the surprise on your face when you look down into the crowd and see them. Your eyes soften and get a little misty but ever the professional you trudge on. 

Song after song you work the crowd into the comfort of your melodies and words have people screaming, crying and eating out of the palm of your hand so easily. 

You get to the end of your set, Namjoon and Jimin know- you'd asked them for help when planning the show. They knew which songs you were gonna sing and when but it didn't occur to them it seemed just a bit short until now when you're clearly your throat and asking for the house lights to be brought up just a bit. 

“The next two songs are love songs, I would sing about political injustice and grieving a metaphorical loss all day if I could-” the crowd hoots a few times with their chuckles and Namjoon and Jimin feel surprised grins growing on their faces.

“but I'm just too in love to not write a song or two.”

You strum a tune he’s only slightly familiar with, its something he’s heard you tweak for the past year or so.

“The lyrics of this one are a bit odd and terribly specific to a certain person so bare with me.” 

The auditorium murmurs a laugh again knowing your lyrics more often than not are. 

“I had a thought, dear, however scary

About that night, The bugs and the dirt

Why were you digging?

What did you bury, before those hands pulled me from the earth?

I will not ask you where you came from

I will not ask you, neither should you

Honey just put your sweet lips on my lips

We should just kiss like real people do”

The piano sounds and the haunting harmony from your back up singers makes Namjoon’s heart race. 

He knows what you're singing about, Jimin knows too he might not get it as well as Namjoon does right now- some of the things Joon talks about are just slightly too icky for him- but he does know that if he could dance about Joon’s brain he would. 

He smiles when Namjoon's hand squeezes his, his eyes unable to look away from you and the little story being told between you two right now. 

“I knew that look dear, eyes always seeking 

Was there in someone, that dug long ago

So I will not ask you, why you were creeping

In some sad way I already know

I will not ask you where you came from

I will not ask you and neither would you

Honey just put your sweet lips on my lips

We should just kiss like real people do”

Noli timere Namjoon hears the words being dragged and stretched in your vocals and his heart clenches.

“I could not ask you where you came from

I could not ask you, neither could you

Honey just put your sweet lips on my lips

We could just kiss like real people do”

Your voice tapers off and the strums slow as you open your eyes and hold his gaze meaningfully. 

Namjoon is left feeling like he's floating.

You wrote a song about something he cares about, you wrote him a song about one of his favorite things even if it is a very creepy weird thing.

You took all the thoughts he poured into your ears and made it something people could love just a little bit easier. He almost thought he couldn't love you more than he already did.

“This next one might be a bit less niche but if you've ever seen your lover dance you would know exactly what its about.” 

The heavy dip of bass vibrates their feet and a resounding clap comes to fill the air as the surprise and tears come his eyes. 

“I still watch you when you're groovin'

As if through water from the bottom of a pool

You're movin' without movin'

And when you move, I'm moved”

Jimin’s hand comes to his mouth and you smile mischievously into your mic.

“You are a call to motion

There, all of you a verb in perfect view

Like Jonah on the ocean

When you move, I'm moved

When you move I'm put to mind of all that I wanna be

When you move I could never define all that you are to me”

You look directly at him making sure he knows this is his song. 

“So move me, baby

Shake like the bough of a willow tree

You do it naturally

Move me, baby

You are the rite of movement

Its reasonin' made lucid and cool

I know it's no improvement

When you move, I move”

Jimin laughs wetly at your joke. You’re wrong- he thinks- your body is absolutely and improvement of any situation. 

“You're less Polunin leapin'

Or Fred Astaire in sequence

Honey, you, you're Atlas in his sleepin'

And when you move, I'm moved

When you move I can recall somethin' that's gone from me

When you move, Honey, I'm put in awe of somethin' so flawed and free

So move me, baby

Shake like the bough of a willow tree

You do it naturally, move me, baby

So move me, baby, Like you've nothin' left to prove

And nothin' to lose, move me, baby

Ooh, ooh, ooh

Oh baby, oh baby

Move like grey skies

Move like a bird of paradise

Move like an odd sight come out at night”

The sudden crash of the band coming together to put music to your declaration makes goosebumps rise on Jimin's skin, Namjoon looks between you both and his heart melts softly in his chest. Just the admiration between you both enough to make him fall all over again.

“Move me, baby

Shake like the bough of a willow tree

You do it naturally, move me, baby

So move me, baby

Like you've nothin' left to lose

And nothin' to prove, move me, baby

So move me, baby

Shake like the bough of a willow tree

You do it naturally, move me, baby”

The calls and hums of you and your back up singers echo quietly before applause assaults their ears, the cheering nothing short of deafening. 

You bow and wave backing away from the mic for a few moments- taking in the last show you'll be doing for a while- before walking off stage.

Namjoon knows he should be pulling Jimin with him towards backstage so they can smother you with love properly but hey can't move Jimin has tears streaming down his face and Namjoon is too awestruck about you remembering him going on about the last words of a poet who had written about the bog bodies and how you always just cared so much about him and Jimin.

Eventually they do move through the leaving crowd towards security, the guards already aware of their faces escort them.

They knock on the green room door with your name next to it. 

It swings open so quickly they flinch back and the woman barreling into their arms throws them back at least a foot. 

“I missed you so much” you all but sob into their chests. Clinging tightly to their shirts.

They share a look over your head all too endeared with your clinginess having missed it terribly for the past months.

“We missed you too angel.” Jimin sighs into your hair, much closer to your head than Namjoon. 

Namjoon hums in agreement then sniffles making you both turn your faces up to look at him, Namjoon crying was a really rare thing well maybe in comparison with you and Jimin who will cry at an emotionally manipulative commercial without hesitation. 

You're both slightly shocked to see tear tracks on his adorably reddened face and him struggling to control his breathing.

“Ooh Joonie.” You coo then pull them both into the green room and start wiping at his cheeks. He sniffles again and it's absolutely precious.

“Y-you sang about b-bog bodies!” He sobs hauling you off your feet pushing the air out of your lungs. 

Jimin laughs and sniffs wiping at his now wet face too. 

“You guys liked them? They weren’t corny?” You wheeze as he sets you back down between them.

“Are you kidding?! You referenced Sergei Polunin, that's so corny, babe.” Jimin pets your cheek and kisses it tenderly. “Of course we loved them.”

“I'm gonna put my song in my thesis, its gonna open a whole flood gate for the romanticism of them.'' Namjoon says, mostly to himself, still shaky with tears.

Jimin pulls you both in for another hug and in a similar state to Namjoon says, “I’m gonna choreograph both of our songs. I’m dropping all my projects for it- right now.”

You laugh and shake your head before pulling back to take them both in again still not over how long it’d been since you got hold them. 

“You wanna go somewhere? Get a welcome home drink or meal or candle or something?” Jimin asks, putting your hair back into place as best he can. 

“That diner with the shakes on 5th is probably still open-” Namjoon starts but you shake your head.

“Can we just go home? I missed you so much.” They both nod with the softest smiles and each grip a hand.

Your tour bus dropped off most of your stuff at home earlier that day so Namjoon just takes your backpack and Jimin pulls your guitar over his shoulder. But not before asking with a smirk-

“Did you say Fred Astaire in sequins?”

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Thank you for reading <3 Please like and reblog if you enjoyed reading this! It’ll lets me know if I should write more or not

#Jimin x reader #namjoon x reader #minjoon x reader #jimin x namjoon #bts x reader #polyminjoon x reader #rm x reader #reader insert #bts #kim namjoon #park jimin #bts fluff #bts fluff fic #bts comfort #bts fic #bangtan fic #bangtan seonyandan #bts fanfic #bts fanfiction #minimoni #bts poly #bts polyamory #bts aus #ahhhhhhh #the ending is so shitty #omg i hope someone likes this #i know its obnoxiously specific #and im annoying and put so many inside jokes in this i apologize #should i tag the #bog bodies

[monotonous-minutia]

what was your theater experience growing up like? I know you have mentioned it before, but I’d love to hear more!

answering this depends on if you want the long version or the short version. But because I feel like telling it, we're gonna go with the long version.

(also I should preface this by saying I was home schooled and so I did not have any access to theatrical things through school.)

It starts on what seems like an unrelated note.

When I was a little kid (like really little, like 5 or so) my parents would always play lullaby CDs for us (my three brothers and I) when we went to bed. I've had issues with sleep for as long as I can remember, so I continued to listen to music every night until I was maybe 12 or 13 to try and get to sleep.

When I was around 10 I think, my mom's parents sent us a CD for Christmas or someone's birthday that was a lullaby CD, but it was all classical music. I loved it so it became my every night CD. The problem was, I got so into the music, it wouldn't actually put me to sleep. I wanted to stay up and listen to the music and read the sleeve of the CD case to see what all the songs were and who wrote them, and to feel the stories that the music was telling me. It was more than just a series of moms singing essentially “go to sleep” over and over. The music in this CD was interspersed with bits of dialogue that went along with the feeling of the music, and that just fascinated me; how someone could be telling a story with music that didn’t have any words.

So I started getting classical music CDs from the library to listen to during the day, so I could get into it when I wasn’t trying to fall asleep. I was primarily obsessed with Mozart, Vivaldi, and Handel, though I had a lot of other favorites too. There was also this really cool series of CDs that took the music of various composers and used them as a soundtrack for stories about the actual composers (the Classical Kids series) and I just ate them all up. I couldn't get enough.

People started to figure out classical music was just becoming My Thing, so I got a bunch of CDs for my various birthdays/Christmas and from the library. And one day my mom grabbed a CD of Die Zauberflote.

I got obsessed with it and once finished it, I kept listening to it over and over again. Then I wanted to see if there was a video recording of a performance that we could watch, because I loved the story and wanted to see how it would be acted out. The one copy our entire library system had was the Drottingholm Court Theater (1989) one, which to this day remains my favorite.

So now I was on the opera train, and I wanted to hear more. We listened to Nozze (though our mom wouldn't let us watch a video of this one; she said it was inappropriate. Also she hated the idea of a woman dressing up as a boy, so anything Cherubino-related was out); we listened to Barbiere, Carmen, and La boheme (these three we were allowed to watch videos of). After that my brothers got bored, but I didn't. I'd found my new obsession.

I continued to listen to operas on my own (and did occasionally manage to get a video or two in the house to watch). Then, because I am A Nerd, I started reading about them--summaries of ones I couldn't find; researching source material; reading about various performers and opera houses...pretty much anything I could get my hands on. All of this continued up until I went to college, which then took up the majority of my life (although I was able to take advantage of the university’s extensive library which had, among other things, DVDs of the ROH Zauberflote with Diana Damrau and Simon Keenlyside and the Met Hansel and Gretel with Frederica von Stade).

Now there's another aspect of this that contributes. I wrote a lot when I was a kid. Like a LOT. If I wasn't doing school or playing outside or listening to music, I was writing stories. Pretty much all of my old stories are dead now for reasons I won't get into. But one thing that stuck around was the desire to write plays. First I wanted to write an opera; the past few years obsessing over them made me want to write my own. But I couldn’t (and still can’t) read music, or write music, or even play an instrument. In my research, though, I'd found a lot of operas were based on plays, so I figured I could write one, and maybe later on down the line I’d find someone who could put it to music.

The only problem was I'd never seen a play. Not even a recording of one. it’s hard to write a play if you’ve never seen one and don’t understand how theater works.

I tried to remedy this by just reading a lot of plays. Our library had an entire section dedicated to drama, about three shelves big. I spent a lot of time there. I tried to figure out what made a good play, but you know, you just can't get the same experience without seeing one.

Then, when I was around 15 I think, I got my first "babysitting" gig, which was just me watching my little brother play video games with a kid a little younger than him. While I watched them play, I talked to the kid's mom (who was there so it really wasn't a gig), and I found out she was an actress that worked and volunteered at some local theaters.

I'd found my way in.

When I encountered her again, I asked if she knew of any ways I could get involved in the theater scene in town (there were a surprising amount of theaters nearby). There were two in particular that needed volunteers, so she connected me to some people. I got to know the staff at the theaters, help out in the box office, do some backstage stuff, usher, and occasionally help the actors with their lines and blocking. But the best part was I got to see a ton of shows for free by virtue of being a volunteer. During the next two summers, I was seeing a show almost every week, sometimes multiple times a week. It was glorious.

I also got to be involved in some of their youth shows; I actually got a few acting parts despite the fact that I'm a pretty bad actor and horrible at memorizing lines. More fun than that, I got to help out as a sort of assistant director for some children's theater workshops put on by local actors. Every Saturday for a summer, I went to one of the theaters to help guide a group of kids (it changed every week) in theater activities and act out a Roald Dahl story that they then performed for their parents. I absolutely loved doing this; I loved working alongside professional performers; I loved being able to participate in theater on a level I was comfortable with; I loved that I could get out of my freaking house; and I loved working with the kids. (Incidentally this is also what got me interested in working with kids, which has been my profession for the past six years.) So that, plus the volunteering, was the biggest part of my theater experience growing up.

Side note, it was through the magic of theater (and one enormous crush on a fellow volunteer) that made me realize I was gay. Of course, because the managers of one of the theaters ALSO happened to be gay (and married), my parents figured I'd been Converted(tm), and that's where the positivity about theater in my house ended. But once I got to college, I had fewer restraints, so I was free to get involved in theater (though I quickly realized a theater major was not for me). I did a bit of acting (never in mainstage shows), but mostly I participated in playwright groups and events. This is where I began writing plays in earnest and actually became good at it. It helped me get over the whole not-being-able-to-act thing. Plus I got to see a lot of shows because they were either a) free or b) severely discounted for students.

I almost got to go to a Big City to participate in a regional college theater festival by virtue of participating in a classmate’s theater project, but for reasons I also don’t need to go into, I was literally the only one who ended up not being able to go.

Aside from that though (an the ill-fated class I mentioned to you a while back), most of my theater experiences have been really positive, and I’m really grateful for that because it helped me get through some tough times at home. Plus there’s nothing like the joy of being involved in live performance. Once COVID winds down and I’m done with school, I want to see if I can get involved in some of the local theater groups in my city. I do still have a connection with one theater group from my old hometown (the one that did the readings of my plays), but the pandemic really put a nix on that. They’re still doing some virtual stuff though.

So anyway that’s probably way more information than you wanted but yeah. That’s my story.

[deadcactuswalking]

REVIEWING THE CHARTS: 26/12/2020 (LadBaby, Boris Johnson, Ed Sheeran)

It’s Boxing Day in the UK as I write this and I’m pretty tired but we still have to review those charts regardless, especially this chart as this is the Christmas chart – at least it’s being paraded around as such – and hence we have a Christmas #1. For the third year in a row, family vlogger, pseudo-comedian and amateur musician, not to be confused with DaBaby, Mark Ian Hoyle – more commonly known as “LadBaby”, has bagged the #1 for the holiday season. Every time I’ve covered the Christmas #1 it has been this guy and, yeah, I’m tired of it. At least this year he felt some stiff competition, and hey, the songs’ proceeds do go to charity. Oh, yeah, and this guy is the third act to have three Christmas #1s in a row, putting this nobody from Nottingham with a barebones Wikipedia page and a couple million YouTube subscribers on the level of the Beatles and Spice Girls. God, the UK Singles Chart never fails to amaze me. Anyway, that’s arguably not even the biggest story here so let’s start REVIEWING THE CHARTS.

Rundown

As I said before, this is the “Christmas week” so throughout the UK Top 75 there are a lot of holiday songs re-peaking or reaching new peaks, before dropping off entirely the next week. Let’s start as we always do by listing the drop-outs from the chart, of which there are quite a few notable ones. Most of our top 40 debuts from last week are gone, like Taylor Swift’s “champagne problems” and “no body, no crime” featuring HAIM, as well as “Show Out” by Kid Cudi, the late Pop Smoke and Skepta. We can also say goodbye to “Sunflower (Spider-Man: Into the Spider-Verse)” by Post Malone and Swae Lee, finally after 54 weeks and a surprise return earlier this month, in addition to other top 10 hits like “you broke me first” by Tate McRae, “See Nobody” by Wes Nelson and Hardy Caprio and “What You Know Bout Love” also by Pop Smoke, as well as some more minor hits like “Wonder” by Shawn Mendes, “Lonely” by Justin Bieber and benny blanco, “Train Wreck” by James Arthur, “Golden” by Harry Styles and “Plugged in Freestyle” by A92 and Fumez the Engineer, but I can see almost all of these rebounding hard next week so I don’t think there’s much to worry about here. For fallers, since Christmas has really consumed everything about this chart this week, we have some big ones that’ll find themselves back in the top 10 or at least top 20 next week like “positions” by Ariana Grande at #19 (the first non-Christmas non-debut song to appear on the chart, by the way), “Sweet Melody” by Little Mix at #20, “Whoopty” by CJ at #22, “34+35” by Ariana Grande at #28, “WITHOUT YOU” by The Kid LAROI at #31, “Prisoner” by Miley Cyrus and Dua Lipa at #35 alongside “Midnight Sky” also by Miley at #36, “willow” by Taylor Swift off the debut to #37, “Get Out My Head” by Shane Codd at #38 and “Paradise” by MEDUZA and Dermot Kennedy. We also have “Therefore I Am” by Billie Eilish at #43, “Really Love” by KSI featuring Craig David and Digital Farm Animals at #45, even “HOLIDAY” by Lil Nas X at #49, “Mood” by 24kGoldn featuring iann dior at #54, “Loading” by Central Cee at #59, “Head & Heart” by Joel Corry and MNEK at #60, “Monster” by Shawn Mendes and Justin Bieber at #64, “Blinding Lights” by the Weeknd at #66, “Dynamite” by BTS at #67, “Lemonade” by Internet Money and Gunna featuring Don Toliver and NAV at #72, “Levitating” by Dua Lipa with the biggest fall down to #73 and finally “No Time for Tears” by Nathan Dawe and Little Mix at #74. To put the dominance of holiday music on the charts in perspective, if we take the songs that are not either explicitly Christmas-related or a clear Christmas #1 campaign (i.e. LadBaby), the song at #38 would be at #10 and our #1 would be “positions” by Ariana Grande at #19. “Whoopty” by CJ, that entered the top 10 last week and dropped to #22 this week, would be at #3. There are 11 songs in the top 40 that never made an effort to take advantage of the holiday season. When we get into some of our debuts, it’ll be even clearer how big Christmas is in British pop music. Anyway, let’s skim through our gains and returning entries, most of which are Christmas or Christmas-related. For returning entries, we have the comically awful “Lonely this Christmas” by Mud at #71, last year’s scam attempt at a Christmas #1, “River” by Ellie Goulding at #69, “The Christmas Song (A Merry Christmas to You)” by Nat King Cole at #63 (which I’d appreciate more in the top 20 like it is in the US every year – this is a classic), “2000 Miles” by the Pretenders at #62 (again, incredible song that deserves a higher holiday peak each year), “Christmas (Baby Please Come Home)” by Darlene Love at #58, “Santa’s Coming for Us” by Sia at #55, “Have Yourself a Merry Little Christmas” by Sam Smith at #53 and for whatever reason, “Holy” by Justin Bieber featuring Chance the Rapper at #41. In terms of notable gains – and I stress notable, since a lot of higher-up Christmas songs had small gains but still good performance - we have “Santa Claus is Coming to Town” by the Jackson 5 at #57, “Let it Snow! Let it Snow! Let it Snow!” by Frank Sinatra at #56, “White Christmas” by Bing Crosby at #52, “Baby it’s Cold Outside” by Brett Eldredge and Meghan Trainor at #51, “Forever Young” by Becky Hill at #50 (both off of the debut), “Baby it’s Cold Outside” AGAIN by Michael Bublé and Idina Menzel at #47, “Love is a Compass” by Griff at #46, “Feliz Navidad” by Jose Feliciano at #44, “Cozy Little Christmas” by Katy Perry at #42, “Let it Snow! Let it Snow! Let it Snow!” AGAIN by Dean Martin at #39, “Sleigh Ride” by the Ronettes at #34, “Christmas Lights” by Coldplay at #33, “Santa Baby” by Kylie Minogue at #32, “Mistletoe” by Justin Bieber at #29, “Jingle Bell Rock” by Bobby Helms at #27, “Wonderful Christmastime” by Paul McCartney at #26, “Holly Jolly Christmas” by Michael Bublé at #25, “All You’re Dreaming Of” by Liam Gallagher at #24 (thanks to a Christmas #1 campaign that crashed and failed), “It’s the Most Wonderful Time of the Year” by Andy Williams at #23, “Happy Xmas (War is Over)” by John Lennon and Yoko Ono with the Plastic Ono Band featuring the Harlem Community Choir at #21, “One More Sleep” by Leona Lewis at #18, “Merry Xmas Everybody” by Slade at #17, “Underneath the Tree” by Kelly Clarkson at #15, and finally, “Rockin’ Around the Christmas Tree” by Justin Bieber illegitimately notching a spot in the top 10 at #8. Finally, we can get onto the new arrivals, although something about this next one tells me that we won’t be in line for anything all that good.

NEW ARRIVALS

#70 – “I’ll be Home” – Meghan Trainor

Produced by Meghan Trainor

...for Christmas. She’ll be home for Christmas. I guess she just can’t finish sentences, even though her cover art has the full title. Anyway, this is a 2014 original Christmas song that went nowhere except Sweden. It’s not anything like the Bing Crosby and wasn’t nearly as successful, mostly because it’s a jingly, inoffensive ballad tacked onto a silly Christmas EP that also features Fifth Harmony and Fiona Apple of all people – who probably should have charted her track instead – as well as the deluxe edition of that debut record Title that nobody liked. At least in this, she’s not going for a faux-retro style, or at least one that I can find the inspiration for, and is just singing over this oddly jaunty piano melody – which sounds pretty albeit bland – as well as some swells of strings and acoustic guitar that do work sonically. The content implies that Meghan Trainor is in contact with Santa Claus personally, and that he gave her the advice to be home with her lover this Christmas and... that’s why this charted, isn’t it? Well, it’s not her fault – it’s not a “stuck with u” moment, but it is dodgy that she decided to put this on her own Christmas record that was released in October of this year, which can’t seem unintentional. I’d be lying to say this isn’t a pretty little tune from Trainor and her voice does fit this instrumental, but a jazzy rendition from someone with a deeper, smoother voice, would work wonders with the content. Oh, and that Christmas record features guest appearances from both Earth, Wind & Fire and Seth MacFarlane, as well as her dad, because, you know, sure, 2020.

#65 – “Gnat” – Eminem

Produced by d.a. got that dope

I can’t tell if I’m underestimating Christmas or overestimating Eminem when I say I expected an album bomb – or whatever that equivalent would be in the UK and our land of silly chart rules – from the deluxe edition of his pretty damn terrible album, Music to be Murdered By. This 3/10 trainwreck consists of two hours I’ll never get back of either great beats wasted by Eminem’s corny, stiff flows and painfully unlikeable delivery or obnoxious, unlistenable beats that are dated enough for Eminem to start going on his Relapse “killing women in funny accents” shtick, which was awful then and even worse now when he tries to replicate it. Marshall, you’re 48, and I know that you’re just “messing around” but if you’re going to treat the album as a cinematic masterpiece within the album and its thematic Alfred Hitchcock interludes, you have to understand that the audience will see it as that way as well, so you having fun and being painfully unfunny in the process over cutting-room-floor trap instrumentals cannot slide. At least Kamikaze had some genuine anger and dare I say some actual balls in how it tackled controversy and dissed everyone he could think of off the top of his head. The last record was angry and bitter, this one’s just tired and lazy, and that’s before we get into some of the ugliest bars, instrumentals and cadences Slim Shady’s ever put on record, which is especially present on “Gnat”, a lightweight trap banger with some acoustic guitars not dissimilar to those that would appear on a Lil Baby mixtape, complete with questionable bass mixing and really bad hooks. On the verses, he sends a death threat to Mike Pence, but on the chorus, his bars are “like COVID” because “you get them right off the bat”. I don’t know about you, but in 2020, I don’t want to hear Eminem harmonising with producer tags, making topical and insensitive pandemic references, or spitting sex bars with coughing ad-libs. Before the beat switch, his flows are some of the sloppiest and drawn-out he’s ever used, and yes, I’ll admit, that second beat is a lot better and Em kills it over that instrumental – but only for a brief moment before we have a third beat, which Eminem is pretty great over, especially with that sax and sweet piano keys overlaid with hard 808s and Eminem’s rapid-pace, quick fire flow... and then he raps the chorus again and I want the song to end as quickly as it started – thankfully, it does end rather abruptly. Just wasted potential all throughout – if that beat switch and flow was a guest verse on damn near anyone else’s record (Em has made tracks with Don Toliver of all people, and he could work), this could be great. For now, Em, you know Kris Kristofferson? I think you should Piss Pissofferson. Forever. Look that up, by the way, that’s a lyric on the record because of course it is.

#61 – “In the Bleak Midwinter” – Jamie Cullum

Produced by ???

I had only briefly heard the name “Jamie Cullum” before this, but he is an English jazz-pop singer and pianist who’s basically useless and uninteresting but, hey, at least he has a radio show on BBC Radio 2. Sure, I mean that might have been the reason that Amazon Music picked him up for an exclusive project for which this is the biggest single. It’s not on Spotify, it’s not even on Genius, and it’s barely on YouTube but since it is, I should tell you that this is his first charting single since 2009 and it’s a remarkably uninteresting rendition of a Christmas carol done a lot better by Jacob Collier – and that one’s on Spotify – so yeah, your sleepy piano arrangement and tone that makes you sound like Robbie Williams half the time and Beck the other, doesn’t interest me. Goodbye.

#30 – “Afterglow” – Ed Sheeran

Produced by PARISI, Fred Again and Ed Sheeran

If we inexplicably remove everything Christmas-related on the chart, Eminem’s “Gnat” would have debuted at #20, and this new track from Ed Sheeran, already stunted from being released on an unconventional day, would have hit #5. Regardless of chart position, Ed Sheeran’s back with his first solo single since Divide. Yes, I’m purposefully ignoring that collaborative project he put out in 2019 because as far as I know, it doesn’t exist. At the end of the year, when things are looking as if he could start touring again, Sheeran predictably releases his lead-off single. This song in particular is a heartfelt ballad from Ed to his wife, who he wishes to be there forever and even if they aren’t together at any moment, whether he’s touring or they separate for whatever reason, he’ll “hold on to the afterglow”. I won’t lie, it’s a really sweet and convincingly sold love song from Ed, even if it’s not anything new, it does feel like a different approach since he’s a newly-wed man now. Although I’m not a fan of this somewhat muddy mixing that somehow messes up just a guy and his acoustic guitar, making what should be a really pretty, ethereal and mellow track sound almost ugly, which doesn’t flatter Ed and his limited delivery at all, especially when he starts getting multi-tracked in the second verse and whooshing sound effects of strings pop up in the mix, and, yeah, it just sounds cheap and gross at this point, which is really a waste of incredible content and a great performance from Ed, who sells everything as well as he can. I understand how this is supposed to be down to Earth, so a perfect mix wouldn’t make sense, but if you’re going to make him harmonise with his own background vocals and even show signs of belting, give him some more grandiosity and go full out instead of restraining him so that it just sounds jarring. With a different mix this could be one of Ed’s best tracks since the melodies are on point, the song feels really heart-warming and sincere, especially coming from Ed to his wife, but we won’t get a remaster anytime soon, I imagine, so for now this is just pretty damn good. I love the cover art as well, painted by Ed himself, and released alongside the single as a bit of a Christmas gift to fans, as well as the start of what I’m pretty sure will be a promo cycle. If this is a good peek into what that album will sound like, it’s safe to say I’m more than excited than ever to hear from Ed Sheeran.

#5 – “Boris Johnson is a Fricking Jerk” – Kool & the Gang

Produced by ???

Okay, so the song’s calling Boris Johnson something stronger than a “fricking jerk”, and the song is decidedly not by soul legends Kool & the Gang, although I’d love for that to happen sometime. This is a family show, of course, so we have to take some liberties. This track originates from a comedian from Basildon, Essex of all places, and whilst we don’t know his name, the songwriting credit on Spotify is given to contemporary British poet Wayne Clements so maybe he’s behind this, who knows? Whether he is or not, I can tell you the history behind this comedian’s music, as he has been making crude short singles about controversial topics in British society and politics for a while, including some about Nick Clegg that charted, although never higher than #63. He retired in 2016 but after writing an autobiography, the guy’s back and he released a compilation of punk rock tracks, all of which are small and profane, with a “band” of puppets that I also can’t name. State-controlled Russian television networks – because, sure, again, it’s 2020 – say that he will start touring in 2021, mostly because he’s finally reached that mainstream audience with this family-friendly tune about Boris Johnson. Here’s how Vick Hope and Katie Thistleton introduced it live on air during the mid-week chart reveal.

Now at #19, we've got a track about Boris Johnson that has so many bad words in it, we can't play it on daytime Radio 1.

Ah, you cowards. Wait... Anyway, I’m pretty happy that the British public can stick it to Boris and the heartless Tories that follow him and currently rule the country, even if it is all a bloody stupid joke from an anonymous punk rocker. We can dig into Boris for his failures on Brexit, mishandling of the pandemic, disgraceful reality-star-esque personal life, that he wasn’t even born in the UK yet is basically a nationalist, his history of Islamophobic commentary, his crap excuses for journalism back in the 2000s or even his clown-nose, blonde bowl-cut “hair style” he adopts whilst addressing us on live television feeding us lies and misleading statements that turn into retcons the next time he has to address the nation, whether it be on Brexit or COVID-19 tiers and regulations, both of which are a confusing mess to both sides of Europe that exist to drift us away from where we should be going as a nation, and further into the realm of political party tribalism that we know absolutely does not work in the States and that we mock the Yanks for. We’re more than the sick man of Europe, we are the America of Europe. I guess you could say Ireland is our Canada, but we don’t even have a Mexico to make us look better, we just have other western, central and northern European countries that may be flawed but are far ahead of whatever the hell this shell of a union is in 2020, less than 80 years after the creation of our National Health Service. People will look to pundits and newsreaders like Piers Morgan, entertainers like Phillip Schofield, war veterans and charity-givers like Captain Tom Moore, and even politicians like Boris Johnson, as the “heroes” of Britain’s 2020 but it’s increasingly clear that absolutely no-one is a hero, and it’s the people’s right to be upset. Hence, nearly exactly a year after Boris Johnson cheated his way into power by smear campaigns and elitism, we have this song debuting at #5. Unfortunately, the song doesn’t go into any of that. It just repeats the title in an anthemic – and considerably agreeable – refrain that is an undeniable punk hook. The riffs and guitar work here isn’t of any interest, but the guy’s delivery is powerful and furious, so I’ll give the song credit: it’s not just correct but it’s really good, especially for a one minute runtime. He also released some satirical MIDI-level synth-pop remix with gross Christmas sleigh bells and hi-hat skitters, because, say it with me, it’s 2020. I wouldn’t recommend the album though, it overstays its welcome by the time you get to “Jesus Died of a Stranglewank”.

#1 – “Don’t Stop Me Eatin’” – LadBaby

Produced by who cares?

I can’t get mad at this lazy “parody” of Journey’s “Don’t Stop Believin’” about sausage rolls, or even its Ronan Keating remix, which is LadBaby doing a favour to Ronan Keating, if anything. Sure, my blood boils with the idea that this incompetent Internet personality from the East Midlands – which I think I’m sadly also able to describe myself as – got the #1 over Mariah Carey, or even that Boris Johnson diss track, but it’s going to the Trussell Trust and it’s ultimately an inoffensive, vaguely happy track that even gets the vegans involved. I, for one, prefer “Boris Johnson is a Sausage Roll”, a version of our #5 you can – and should – play on the radio even after Christmas. I don’t have anything more to say about this guy so piss off, LadBaby, you can’t even get the album cover right to the song you’re parodying, thrice in a row.

Conclusion

Best of the Week is definitely going to the Somethings for “Boris Johnson is a Something Something”, with an Honourable Mention to Ed Sheeran’s “Afterglow”. I can’t bring myself to give a charity single Worst of the Week so I’ll spare LadBaby the honour and grant it to Jamie Cullum for his greedy Amazon exclusive trite, with a Dishonourable Mention for “Gnat” by Eminem, for just being wasted potential all across the board. Next week, everything Christmas-related will be gone and we’ll get a bunch of returns and hopefully some new, interesting returning entries. We might even get the impact of Playboi Carti’s long-anticipated album – and I hope so because it’s fantastic – but that’s wishful thinking. Anyways, I hope everyone had a happy holiday season. Here’s our top 10:

Thank you for reading. You can follow me @cactusinthebank for more rambling about pop music and occasionally politics, and I’ll see you next year.

[dvrksiider]

multiples of 3 for the OC questions

Super detailed questions about your OCs || Not Accepting (thx nida :p) 

@errantson​

3. Did they have a good childhood? What are fond memories they have of it? What’s a bad memory? 

Main Verse: Nyla had an average childhood. Not necessarily good or bad (I don’t know if neutral is the best word here). The few fond memories were her warrior training before her Force sensitivity kicked in at full throttle. 

Light Side Au: Corryn feels she had a good childhood. Of course it was difficult for her because of her sensory overload and the intense training she began as a little kid. She fondly remembers spending time with her mother and father and how proud they were of her. 

6. What were they like at school? Did they enjoy it? Did they finish? What level of higher education did they reach? What subjects did they enjoy? Which did they hate?

Main Verse: She kept to herself and was distant. During her short time at the praxeum, she made very little friends. She was a bright kid with a lot of potential but the sensory disorder combined with her Force connection made her learning environment toxic and agonizing. Nyla finished her training with Snoke; out of her 17 years of training, 14 years were dedicated to darkness. During this time Nyla learned the ins and outs of pain, what made people tick and how a person could be broken. She also discovered she had a knack for Sith Alchemy.

Light Side Au: Corryn was shy and distant at first before finally feeling comfortable enough around the other students. She grew to love the academy as well as Luke and most of her peers. Before her 18th birthday, she went to Coruscant to start her sentinel training where they were busy restoring the Jedi Archives. Corryn stopped her training for a year once she discovered the praxeum had been destroyed. After that, she went back to Coruscant for another two years to study under her second master. She studied the old Jedi texts in great detail and learned how to strengthen and maintain control of her connection to the Force.

9. Do animals like them? Do they get on well with animals? 

Main Verse: Nyla is mean so therefore animals are like “uh no way.” She doesn’t particularly care for them either. There’s probably an unspoken agreement between her and creatures of the galaxy which involves both parties staying out of the other’s way. 

Light Side Au: Corryn loves animals. Most animals seem to like her as well. She helped Mara Eclipse take care of a smuggled Porg and the little guy has now won just about everyone’s heart around base. (eron wants to eat him??!! but he’s a good boi!!) 

 12. What is their favourite food? 

Main Verse: Traditional Mandalorian dishes. Whatever will give her the strength and nutrients needed to ensure her survival. Alcohol is nice too. 

Light Side Au: Corry loves meat ( a la Sokka), but really give this girl anything. She has a crazy metabolism and is a bottomless pit. 

15. Are they good at cooking? Do they enjoy it? What do others think of their cooking?

Main Verse: Nyla could survive on her own if need be, but because she’s aligned with the Order, she usually does not make her own meals unless away from her regiment or on some solo mission. In short she is adequate. 

Light Side Au: Corryn can cook decently. She’s actually better at baking and likes to surprise her friends and fellow Resistance members with something sweet every now and then. Most people would say she can make a good enough meal. 

18. What’s their favourite genre of: books, music, tv shows, films, video games and anything else

Main Verse: (gonna sound edgy but...) everything dark and macabre honestly. In a modern setting, Nyla would be all into horror and the supernatural.

Light Side Au: Corry enjoys action, adventure, mystery and comedy. She would be a fan of classic NES games and other pop culture phenomenon. 

21. Do they have a temper? Are they patient? What are they like when they do lose their temper?

Main Verse: Yes and no. Nyla’s secret is that she’s always seething. Unlike another dark sider, she’s gotten very good at masking it and keeping it under control. Nyla understands that there is a time and place for such anger- too much freedom will turn her into a loose canon. So in her right mind she is very selective about when and how she displays her anger. When she is angered enough, nothing is off limits; no words, no actions. The juxtaposition between her level persona and her rage induced state is incredible. It makes her all the more terrifying. 

Light Side Au: Corry can get a bit of a temper now and again. It’s nothing like that of her dark side self, but it can still be destructive in its own right. She’s been known to dig deep and say things that she knows will shut others up; ie something that might negatively resonate with someone. As she’s continuing to grow and learn, she’s always trying to develop more patience and finding healthier ways to express her anger. 

24. What is their sleeping pattern like? Do they snore? What do they like to sleep on? A soft or hard mattress?

Main Verse: Nyla only sleeps when it is required. (kinda like Leo Di Vinci) She has her own unique circadian rhythm. Some periods of time she gets adequate sleep. Other times she’s awake for days. Nyla’s silent breathing can be heard if listened closely, she prefers some level of comfort so a mattress in between soft and hard. 

Light Side Au: Depending on what’s going on in the Resistance determines Corry’s sleeping habits. She could be well rested some nights and then running on two-four hours other nights; nothing a good cup or twelve of caf can’t fix. She totally snores (nothing loud just noticeable. Mara can attest to it) and because of her sensory thing she likes soft things

27. What makes them sad? Do they cry regularly? Do they cry openly or hide it? What are they like they are sad?

Main Verse: The last time Nyla cried was when she was 10. So...I mean. As an adult, she doesn’t feel or experience sorrow the same way as she did in her youth. Things are just repressed before they can even be processed in real time. 

Light Side Au: The thought of never reuniting with her parents makes her sad. The thought of losing the war against the First Order makes her sad. The possibility of her friends and comrades dying makes her sad. Corry just feels a lot, okay? And while she’s not overly emotional, she will cry if she’s worked up enough and at that point she doesn’t care if people are around. She gets quiet and distant when she’s sad.

30. Do they exercise? Regularly? Or only when forced? What do they act like pre-work out and post-work out?

Main Verse: Nyla exercises pretty regularly (when she’s not in the middle of a mission that is). She’s very focused pre-work out and likes to tune out most things. She focuses only on herself and improvement. After work out, she’s calmer than usual and almost in a bit of a daze.

Light Side Au: Corryn tries to exercise regularly, but sometimes other things come up that are more important. She tries to be happy and positive before working out so she doesn’t give up halfway due to effort. Post work out, she’s tired and needs a shower and a nap tbh.

33. What underwear do they wear? Boxers or briefs? Lacey? Comfy granny panties?

Main Verse: Nyla wears bikini style and sometimes hipsters. 

Light Side Au: Corry wears hipsters and boyshorts most of the time. O my god corry you so gay

36. What are they good at? What hobbies do they like? Can they sing?

Main Verse: Well Nyla is good at murder. Not sure if that’s a hobby exactly...she is an exceptional duelist (her warrior training on Mandalore helped prepare her for this). She is also a very gifted psychometrist and performer of other dark Force powers; force storm, drain knowledge, memory walk, etc. I would pay to see Nyla sing. 

Light Side Au: Corryn is good at absorbing a lot of information in a small period of time. She is skilled with her lightsaber as well as Light side Force powers; battle meditation, Force concealment, Force protection, etc. Corryn isn’t a bad singer, of course when she’s drunk it is truly a spectacle. When sober she can carry a tune. 

39. Do they like letters? Or prefer emails/messaging? 

Main Verse: Nyla prefers holo messages. Gets the point across much faster and usually more effective (her methods are beyond brutal). 

Light Side Au: Corryn prefers letters because they are more personal. Growing up, she did her best to preserve her writing so she would never forget her mother tongue. 

42. What are their goals? What would they sacrifice anything for? What is their secret ambition?

Main Verse: Nyla wants power and control and she’s willing sacrifice her humanity for it. Her secret ambition is to kill her dark side master and take his place. But beyond that, Nyla desires to extend her reach beyond the First Order and to become the most powerful and formidable entity in the galaxy. 

Light Side Au: Corryn wants to become a self actualized Jedi Knight (grey jedi later). She would sacrifice herself for the Resistance and for her friends. It’s not a secret ambition, but Leia is currently helping her rise the military ranks so that she can become a well respected leader and teacher. 

45. How do other people see them? Is it similar to how they see themselves? 

Main Verse: People see Nyla as cruel, evil and diabolical. She can’t exactly dispute any of it and quite frankly she doesn’t care. She knows what she is and she revels in the darkness. 

Light Side Au: Most people think Corryn is a sweet girl determined to do the right thing. Sometimes she has self doubt but then she is reminded of who she is by result of her actions and feedback from those she fights alongside. 

48. Do they enjoy any parties? If so what kind? Do they organise the party or just turn up? How do they act? What if they didn’t want to go but were dragged along by a friend? 

Main Verse: Nyla would rather not. She only attends gatherings because it is expected from someone of her position. It’s all political and even she must save face and play along with the hierarchy of the Order. 

Light Side Au: Corryn enjoys smaller parties because too much going on overloads her senses. If it’s with people she likes and trusts then she’s bound to let loose and have a great time. If the party is huge then the poor kid becomes a wallflower. 

#erranston #oc questions #omg so man quenchons #nida we are even now lolololo #oh man i'm putting these under a read more because it's a lot and i get wordy af #sorry guys #XD #errantson

[sorosoroso]

Article for Connect Magazine

I had a chance to write about a music artist I really love, and it will soon be published in Connect Magazine, which is a community driven project where expats living in Japan contribute articles about Japanese culture and everyday life. The issue my article will debut comes out in a few days. It is totally free to read and available online. Please enjoy below!

A Folkin’ Good Time: My Journey from Japanese Traditional Folk Music to 8-bit Technofolk

I stumbled upon Japanese traditional folk music the same way a horror film heroine might trip into a dark, deep pit in an old, creepy mansion: by accident.

And much like said heroine who suddenly wakes up in said mysterious, deep pit, I don’t even know how I got here. The last thing I remember is wondering about Japanese instruments and typing in “Japanese traditional songs” into a YouTube search bar, before being sucked in by the strums of shamisens and the dynamic vocals of Japan’s traditional folk singers.

Although it’s usually put under the umbrella term “min’yo”, there is no exact name for the genre Japanese traditional folk music belongs to. Sometimes they’re called inaka bushi (country melody), other times they’re called inaka buri (country tunes) or even hinata uta (rural songs). However, I think min’yo, whose kanji translates to roughly “the people’s chant”, is a weirdly accurate description of these simple, yet intriguing songs (and for simplicity’s sake, I’m going to be referring to them as min’yo from here on out).

 In the same way certain foods or adorable mascots are part of certain prefectures’ identity, min’yo songs are another way for many regions in Japan to further distinguish themselves. Originally sung by lower class people, their purposes vary from work songs sung while toiling away in fields, to sacred religious chants performed during ceremonies. Many songs tend to have imagery of nature or details of everyday life, and often incorporate special dances or instruments during performances.

Take for example Japan’s oldest min’yo song: Kokiriko-bushi. Hailing from Gokayama village in Toyama prefecture, Kokiriko-bushi illustrates the natural flora and fauna of the village during the harvest season. A performance of Kokiriko-bushi is visually intriguing as well; performers move slowly across the stage in uniquely shaped straw hats, as others play the iconic binzasara instrument: an accordion-like apparatus consisting of many wooden slats that clack together to create the “dedereko-den” chorus of the song.

I fell in love with how all these elements came together into a cohesive experience. More compelling, though, were the powerful emotions behind each song. Each one seemed to condense the essence of feelings like sadness, happiness, or loneliness in a way that you could empathize with, despite the language barrier.

My appreciation for min’yo grew extensively throughout college, and during long hours of nighttime studying or downtime between projects and papers, I often listened to min’yo playlists to keep me company. Whether it was the more New Age, emotional ballads of Ikue Asazaki, or lo-fi recordings of televised performances from the 90s, I listened to it all. I wasn’t too picky, and even if I didn’t always understand the words, I let myself get swept away by the vibrant energy each song and performer exuded.

Unfortunately, my college roommate and study buddies didn’t quite share the same enthusiasm for min’yo, and I don’t blame them. I completely understand that min’yo isn’t exactly easy listening for a lot of people. It can be a bit grating at times, with tunes that don’t follow traditional Western note progressions, not to mention the sometimes startling kakegoe (call-and-response) that seemingly jump out of nowhere. 

Older Japanese folks didn’t understand why I enjoyed the genre so much, either; even they found min’yo to be a relic of the past that didn’t quite have the chops to withstand the more international appeal of modern-day songs. For a lot of people, min’yo was something that only a  few Japanese people sang, and even then only to demonstrate Japan’s nostalgic, rustic charm. I found myself having to agree with them. It seemed that min’yo was reserved for special occasions, like cultural events or TV specials, and so many recordings I enjoyed were decades old. Perfect preservation of the genre seemed to be the goal, and innovation was limited, if present at all.

And then I discovered Omodaka.

I was looking for more min’yo to listen to on the Internet (as per usual), and during a mindless return to YouTube’s homepage, I noticed a distinctive thumbnail. 

A punchy, vibrant red background emblazoned with a stark white, minimalist graphic of an arrowhead flower; that’s all there was to it. The title was equally as simple: “Hietsuki Bushi”, uploaded by “Omodaka”. At the time, I had no idea what any of those words meant, but I was riding high on my min’yo video binge, so naturally I clicked.

Imagine my surprise when, instead of hearing the bare twangs of shamisen like I was expecting, I was hit with a lush, multi-layered 8-bit melody mingling with a classical guitar’s gentle strums. Before I could process what I was hearing, a loud, piercing, siren-like horn cut through, and jarring though it was, I only became even more entranced in whatever the hell YouTube just recommended me. I was totally immersed.

Then the vocals kicked in.

To hear the powerful voice of a trained traditional folk singer sing about a tragic love story from the Kamakura era was absolutely breathtaking, especially with the blips and thrums of the 8-bit chords accenting it every few measures. The singer’s notes swooped up and down with confidence, working alongside the digital landscape of the background music to convey the melancholic longing of the narrator. I’d never listened to such a wonderful marriage between traditional and modern musical aesthetics before, and as soon as the video finished, I was already eager for the next song.

As it turns out, the skilled vocals I’d heard on Hietsuki Bushi and on subsequent tracks belonged to classically trained folk singer, Akiko Kanazawa (whose min'yo rendition of the Beatles’ “Yellow Submarine” is definitely worth checking out), but listening to her other works, it was clear that someone else had a hand in the skillful mixing of chiptunes and traditional folk standards I was hearing. After a few music videos and a deep-dive Internet investigation, I soon discovered that Omodaka was not just a one-off, eclectic min’yo mashup duo, but a collaborative project that combines traditional Japanese music with contemporary visual artists. But, behind all of it is one man—electronic music producer and DJ, Soichi Terada.

 An accomplished house techno artist and founder of record label Far East Recording, Terada has enjoyed listening to min’yo music since childhood, but felt he “couldn’t say that [he enjoyed min’yo]” to his friends because they weren’t interested in it. He experimented with min’yo/ house fusions, and over time, Terada developed a distinct sound that would define his label. Later on, spurred by a desire to collaborate with visual artist friends, Terada launched the Omodaka project in 2001.

The Omodaka project usually involves Terada’s friends creating fantastical, even psychedelic, animated music videos for his “techno folk” songs (a term Terada has coined to describe this niche genre). My personal favorites are “Yosowya-san”, with its side-scrolling 8-bit exploration of Japan’s gambling culture, and, of course, “Hietsuki Bushi”, an adventure of a love confession thwarted by portal jumping spacemen and a farmer/lion/bird chimera. Oh, and aliens. There are also several albums released under the Omodaka name too, each filled with songs beyond the wild, color bursting music videos.

Where the Omodaka project really shines, however, is during live performances. They are an unabashed bonanza of pure theatricality, with projections of Omodaka’s music videos flashing behind Terada as he waves around props like paper lanterns or bamboo flutes all throughout his set. Even Kanazawa makes an appearance during performances, singing to the audience virtually through the use of TV screens set up around the stage. 

Especially striking is Terada’s costume when he performs as Omodaka. Instead of his trademark, brightly colored shirts, Terada comes onstage wearing a white, plastic mask, a shaggy black wig, and miko (Japanese shrine maiden) religious robes. As Omodaka, Terada transforms into an uncanny, barely human, androgynous entity whose only goal seems to be to get the audience’s blood pumping to some good ol’ technofolk.

Best of all, when you look into the audience during an Omodaka show, it doesn’t consist of solely geriatric Japanese; it’s diverse and, importantly, it’s young. I’m certainly no expert in methods of preserving a cultural property like min’yo, but I think that Terada is taking a step in the right direction to make sure min’yo will stick around for a bit longer. Sure, perhaps some purists may condemn Terada’s genre mixing as sacrilegious to everything traditional folk music stands for. However, when I see the audiences during Omodaka’s performances sway their bodies to Kanazawa’s trilling and yell back kakegoe to Terada, I feel that wonderful energy that drew me into min’yo in the first place. All I hope is that some of these people will also go back and listen to the music that led to the Omodaka project, and appreciate the unique sound of min’yo, too.

If you would like to check out the Omodaka project or Terada’s other works (he’s composed music for video games as well!), I highly recommend looking at his label’s YouTube channel: “fareastrecording” (all lower case, no space). If you search “Omodaka - Topic” in the search bar, YouTube even has a curated playlist with Omodaka’s entire oeuvre! Omodaka is also on Spotify. Furthermore, Terada regularly updates a Twitter account which announces future performances and other exciting news, like the October 28th release of Omodaka’s newest album in five years!

#>2000 #omodaka #minyo #article

[rockrevoltmagazine]

EXCLUSIVE VIDEO PREMIERE: Home Above, "Shouldn't Try"

If you’re not hip to Austin, Texas’s own Home Above, now is the time to change that. With their latest album, Indecision to Move, released last month, the genre-bending quartet are placing themselves alongside some of the current greats in pop rock (with a sweet dash of punk). They have shared the stage with favorites such as Hawthorne Heights and Turnover, and their star is on the rise. 

We have the extreme honor to premiere the video for their latest single, out today, “Shouldn’t Try.” Void of anything flashy to take your attention off of their pure talent, this video showcases them doing what they do best – singing the songs that get the feels a’moving. 

After you give the video a solid view (or two), feast your peepers on an exclusive interview with Cameron of Home Above below! Chatting with them about anything from writing process to pecan pie (yep, you read that right), we learned that this band is versatile in all kinds of fun ways we didn’t even expect! Check it out, and let us know what you think! 

Without further fanfare, we present: Home Above, “Shouldn’t Try.”

First of all, thanks for picking us for your premiere of “Shouldn’t Try.” I am absolutely hooked on this song, so I want to know what inspired it?? Where did the idea for the video come from? The energy is amazing, and I think people are really going to love it, too!

Thank you so much for the love! We are really excited as well. So, this song is a culmination of all of our issues in the band. I can honestly say I have indeed paid for ‘tattoos over paying the bills’ (sorry not sorry). I thought the idea of that line in the song stands out as the idea that we are young and dumb and just want to have some fun before we get old or whatever. “Shouldn’t Try” mainly stems from the “f*** it” attitude you’ll hear throughout the track. We are stressed and overwhelmed with life that we just want to break out and live a little! I believe I’m not the only one feeling that way, and maybe that’s why we’ve had such a great reaction to this single specifically.

You guys have quite the album with your release, Indecision to Move. It moves in a seamless way from start to finish, so I have to know, was that intentional or was the movement of it organic from track to track?

So, I’d like to start by saying this record is about 2-3 years in the making, and a lot of these songs were written while we were working on our previous album, If Anything Will. I believe the first song we wrote before we decided to put out this record was “Aurora” back in 2012-13; I can’t remember. But, it’s funny because when we wrote “Aurora,” we had the hardest time finishing it up. We went back and forth between different chorus ideas, key changes, different rhymes, etc. It wasnt until during the recording of the track that we came up with what you hear now. I say all this because we never intended for it to flow well as you mentioned. Everything just kinda fell into place as far as the movement from song to song goes. Well, with the exception of “The Start” being the first track on the album. That was intentional for maybe obvious reasons.

As a writer, I am always interested in knowing what other writers go through in terms of process. So, what’s your writing process like for Home Above? What’s it look like when you guys are creating? And, how in the world do you pick what stays and what goes in terms of content and lyrics? 

Those are really great questions. I myself am not entirely sure how it all works. Writing music and all. It’s all a very complicated yet simple process. I find myself overthinking and getting frustrated more or less. I do find inspiration however, at my studio piano back home. When I’m sitting at that piano, I think about what’s been going on in my life and in my friends lives and what I can do to maybe put a metaphorical “stamp” on it in the form of a song. For example, I as well as a lot of people out there reading this, suffer from finding your place in life. Ya know, the “Where do I go? What do I do? Who am I?” questions screaming from the bleachers of my mind! These thoughts consume my train of thought quite often, and it tends to either oppress me or inspire me.

So, I write my thoughts on paper at the piano in my living room and let my mind write the words for me, if that makes sense. I then will oftentimes present the song idea or lyrics or cool guitar riff to the guys, and they generally take it from there. Cameron would come up with a groovy clean lead line, Gaven will hit back with a powerful-face-punching guitar riff, and Davis jams out a few beats/rhythm ideas on the drums. I’ll accommodate the song with my bass digs. After we have a completed rough idea for a song, we revisit it after some time away from it, add different lyrics that help the story of the song flow a bit better, change out a few words via the great Thesaurus, and wham-bam-thank-you-ma’am, a song is born. Sometimes we even ask outside sources for their input of ideas. This helps with making sure the song flows well within itself.

A lot of what you say is super relatable to what so many young people face today, and I am sure you hear it from your fans as well. Is that intentional, or is just the place you guys are in with your lives right now?

Absolutely. It’s like I mentioned before, our general audience I think tends to forget that they are not alone. I have problems just like you. Maybe in different ways. Maybe we have the same issues? The idea that we want to drive home here is you can find solace in knowing that you are not alone in this life. Whether you are getting bullied at school or are feeling alone. Whether you have a medical condition or are just different than the people around you, everyone has problems and issues. We all share a similar topic. And we can either let that hurt us and stay quiet, or inspire and make you want to inspire others. I think with all the bad, negative stuff that happens on this Earth, people could use a little more TLC from each other. A little more understanding of one another. Unity.

If I took a peek at your playlist, what would I see? Who do you turn to for creative (or escapist) inspiration? (I am still waiting for someone to ever say one of my favorite bands, so if it’s you guys, I’ll buy you all a Snickers bar!)

Oh boy! Lately I’ve been diving into a lot of classics to clear my head – Creedence Clearwater Revival, Queen, early Springsteen – it’s super refreshing to the ears after working on songs all day to tune in to the dynamic masterpieces of the past. While we were working on the record, however, I listened to a TON of Jimmy Eat World, Relient K, All Get Out, Manchester Orchestra, and Weezer. (Seriously, if you’re writing a song and you get stuck – just listen to some Weezer and ask yourself, “What would Rivers do?”)

You guys have shared the stage with some pretty solid names, so I want to know what is next? When is the tour? Who ya with? And please, for the love of god, tell me you’re coming to Cleveland!!

We’re planning a couple things for 2018 that we can’t share quiiiiiite yet, but there are a few friends we’d love to be on the road with, and Cleveland is certainly on the radar. 😉

Speaking of tour, if you could tour with anyone, who would it be? Who is on your dream tour ticket with you?

Forever Came Calling is a must. Not only would seeing a set by them every night be a dream, but they’re some of the nicest people we’ve met so far on our journey. 

If we could bend the rules of common sense/reality a bit though, our dream tour ticket would be: 

Oasis, Tenacious D, & Ed Helms And The Bluegrass Situation. 

You call Texas home. How do you feel you guys fit into the music scene back home? Do you feel a responsibility to represent your home state well? And, how do your roots in Texas reflect on your work ethic? They say everything is bigger out there, so how do you take that mentality and translate it into your music?

Austin, Texas, has one of the best music scenes I’ve ever witnessed. Everybody involved has welcomed us with open arms and we couldn’t me more grateful. While I don’t classify us as a textbook “Pop Punk” band, the Pop Punk/Emo scene of the town is such a supportive family, and the support of people from the scene fuels us every day! It carries over, too. With the support of so many awesome folks, of course we feel a responsibility to represent Texas well! It would be terrible to give people the wrong impression of one of the greatest states, so we do our best! 

Our roots don’t reflect in our work ethic as much as our work ethic is entirely a byproduct of living here. Texas is just so BIG. When we were starting out getting on cooler stuff & things like So What festival, we had to sell tickets. Selling tickets to a festival in Dallas when we’re three hours south demands hardwork & innovation, and that stuck with us in everything we do. Texas being so large drives us to see everything on a bigger scale, and motivates us to spread our music likewise! 

Speaking of music, what do you do when you’re not making and playing music? Where can we find you if you’re not in the studio? 

We all have our quirks and hobbies! Kevin is a great artist, and when time allows you’ll probably find him doodling on whatever piece of paper he can get his hands on, while Davis has recently become super passionate about riding his sportsbike for hours at a time! I (Cameron) love to cook – if I’m not working, I’m at home making whatever delicious idea I’ve had while daydreaming, and Gaven is most likely blowing people’s minds with his sorcery. (Witchcraft? Wizardry? Magic? Whatever it is magicians summon to do all those crazy card tricks)

In times like these when bad news seems to be on a constant loop, how do you feel music fits into the scope of the media? And as artists, do you feel a responsibility to your fans (both old and new) to bring something more positive to what seems like an endless shit show?

The beauty of art is that we own it. An artist can create whatever they want with no overhead, “Oh, you can’t talk about that.” And I think that the freedom we have as artists to express our personal opinions and thoughts and little known facts through a popular medium solidifies the idea that – yeah, artists owe it to themselves & to their fans to spread positivity and knowledge when other media might not necessarily get to exist in a similar genuine state. 

What are four words you would use to describe Home Above? Also, random, but what are you hoping to receive as gifts this holiday season? 

Fun, quirky, accessible, and open! 

And, thanks for asking! I love talks about the holidays (and gifts!). 

Every year since I was six, I’ve asked Santa for my very own water-park sized waterslide. Maybe this is the year! If not, I love getting snack boxes! I try not to spend a ton on junk food (and adversely do not eat a lot of junk), so receiving a box of goodies is always a nice surprise! 

Any final words for the fans?!? We can’t wait to see where this crazy journey takes you! 

Thanks so much for following us for this long! I’d love to end with sharing with you guys my favorite pecan pie recipe courtesy of the Karo syrup bottle: 

1 cup Karo® Light OR Dark Corn Syrup 3 eggs 1 cup sugar 2 tablespoons butter, melted 1 teaspoon pure vanilla extract 1-1/2 cups (6 ounces) pecans 1 (9-inch) unbaked OR frozen** deep-dish pie crust.

Preheat oven to 350F. Mix corn syrup, eggs, sugar, butter, and vanilla using a spoon. Stir in pecans. Pour filling into pie crust. Backe on center rack for 60 to 70 minutes. Cool for two hours on wire rack before serving.

Connect with Home Above. (click icons):

Interview by Devon Anderson, RockRevolt Magazine Managing Editor

EXCLUSIVE VIDEO PREMIERE: Home Above, “Shouldn’t Try” was originally published on RockRevolt Mag

#home above #Interview #pecan pie #RockRevolt #RockRevolt Magazine #shouldn't try #video exclusive #video Premiere #world premiere