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bittykimmy13 · 2 years

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Can we please get more Everly and Micah content? 🥺

How about their first meeting?? Though I suspect it'll leave you wanting morrrre 😘

Micah and Everly are gonna get their own book!! So here's an excerpt @marydublinauthor and I wrote a while back as we were first dreaming them up 💖

Warning: Hints of dehumanization as part of the setting

((More Micah/Everly))

💖FOREVERLY💖

Everly was sprawled out on the couch, aching down to her bones from her shift. Working in the human sector was exhausting, but the pay was better compared to staying within the walls of the print community. Not for the first time, she questioned if it was worth it.

Just when she was dozing off to the sound of her two roommates playing cards at the table next to her, Grayson gave a shout as he lost the game.

“Could you keep it down?” Everly groaned and buried her eyes in the heels of her hands. “I deal with loud people all day.”

“Sorry, Ev,” Wyatt said, though he hadn’t made a sound.

“Aw, what’s one more loud person.” Grayson came over to the couch and lifted Everly’s legs up so he could sit down. Her calves rested on his lap. She considered kicking him, but he was smiling right at her. “Anything you want to rant about?”

“Everything,” she said. “But what’s the point?”

Wyatt turned his chair around to face the couch. “Thinking about leaving your job yet?”

“No. No, it’s worth it.”

“Worth what?” Grayson said. “You leave early, come back late, and knock out just to do it all over again. You’ve got no life. I’m starting to think you buy into the whole ‘prints live to serve humans’ thing.”

Now she was definitely going to kick him. Especially considering he used to be human.

A sound made them all turn their heads to the window. It was unmistakably a voice, and judging by the speed at which its volume was growing, it had to belong to a human. And it wasn’t the sound of a keeper sneaking in phone conversation during a late shift.

He was singing.

They were all entranced for a few seconds. There was no denying it—he had an impressive voice, but as he came closer and closer, it became all too clear that he was making too much noise. It was well past midnight, and there were plenty of prints who needed to be up before sunrise to head to the human sector for work.

“Are you kidding me?” Everly muttered, pushing herself up from the couch.

Wyatt started to stand too. “Ev, maybe you shouldn’t—”

Too late. She pushed the window up until it was fully open and leaned out into the freezing night to see down the street. She didn’t have to look long before she saw the keeper. He was staggering, careening dangerously close to a building as he turned a corner. He was still singing, trailing off at times and starting the same phrases over and over.

He headed straight for her building. Across the street, she could see the lights in other windows turning on, along with face peeking past curtains. He was waking everyone up.

Gripping the edge of the window sill, she leaned out further as he approached. The third-floor apartment put her at level with his elbow. She craned her neck back and found that he hadn’t even noticed her. His unfocused gaze was on the ground, as if he had to look at his feet to keep from losing balance.

“Hey!” she called out. “Keeper! Are you drunk?”

The singing stopped, and so did he. As he turned toward her voice, Grayson and Wyatt appeared on either side of her, grabbing her by the shoulders to wrench her away. As they all staggered back, they lost their balance and fell into a heap together. Everly sat up in time to see the lights across the street vanish, replaced by a wall of dark fabric. There was a dull impact from the outside bricks, as though the keeper was bracing his hand on the side of the building as he stooped down.

Part of the human’s face descended in front of the window. A dark brown eye found them sitting on the living room floor. Grayson squeezed Everly’s hand and locked an arm around Wyatt’s shoulders, pulling him in close. As the eye squinted at them, Everly couldn’t find her voice.

“She’s sorry,” Wyatt said. “S-she had a long shift today. She didn’t mean it.”

Grayson shouldered her, raising his eyebrows steeply when he caught her gaze. “Earth to Ev?” he gritted out. “Apologize before he turns this whole fucking floor into the new roof!”

She faced forward with every intention of saying sorry, but when she saw the eye focus right on her alone, she was a deer caught in headlights. All she could manage was a breathy, “Uh… I’m…”

“Yes,” the keeper said, his voice easily overpowering hers.

“Um.” She shared a puzzled frown with her friends, then looked back at the keeper’s eye. “What?”

The keeper’s chuckle danced through the floor beneath her. “You asked me a question. The answer is…” He straightened slightly so that his mouth was visible through the window. “Yes,” he stage-whispered.

His white grin stayed there for another heartbeat before he pulled away entirely. The lights from the building across became visible again. There were more of them now—prints watching and waiting to see if someone was about to be dragged out through the window. The keeper provided no such entertainment, however. Everly felt the rumble of his footsteps fade off. He started singing again.

“He is drunk,” Everly said. She stood and began pacing while Wyatt helped Grayson up. “This is ridiculous! We work and live our lives under the stupidest, strictest rules imaginable, but this asshole gets to show up drunk to his job without any consequence?”

“Well, good to know you can still talk,” Grayson said dryly. “We were starting to worry.”

She rounded on him to find that he had sunk onto the couch, and Wyatt was leaned up against the table with his fingertips pressed to his temples. Beneath the relief that nothing had happened, she could see they were still tense.

Sighing, she went to sit by Wyatt and squeezed his shoulder. “I’m sorry,” she murmured. “I just… it’s so…”

She trailed off and scowled at the open window. The keeper’s voice was still going strong. As the seconds passed, she realized he wasn’t getting any further away.

“Great,” Everly said. “I bet he found a place to hunker down, and who knows when he’ll stop singing. Keepers don’t change shifts till six AM.”

“Could be worse,” Grayson said, crossing his arms. “You have to admit, he sounds pretty good.”

More than pretty good. He sounded downright enchanting.

“That’s not the point.” In an instant, she was on her feet again. “He’s gonna keep everyone up all night because he decided to show up to work like this. And who’s gonna get in trouble? The prints who can’t do their jobs right because they’re sleep-deprived.”

She stormed over to the door, but Grayson went and grabbed the handle before she could unlock it.

“Slow down,” he said. “Where are you going?”

Squaring her shoulders, she stood a little taller and looked at him coolly. “To kindly tell him to shut the fuck up.”

He let the back of his head thud against the door. “Do I actually need to tell you why that’s a bad idea, or should we just skip to tying you down on the couch for the night?”

“Well, it’s not like putting in a report is gonna do anything!” she said.

Less than a month ago, Cindy from down the hall reported that a keeper was following and harassing her. Days later, she had vanished without a trace, and the keeper still had his job. No one had the slightest clue where she was, and the human managers of the community had investigated the matter for roughly ten minutes, chalking her up as a runaway.

“You know,” Wyatt said. “You’re more likely to disappear if you go about it this way. Besides, it’s way past curfew. If you step outside, he’s well within his rights to arrest you.”

“I don’t think he has the wherewithal to know what arresting means.” She turned to face Grayson, who was still blocking the door. “If no one stands up to the keepers, they’re not gonna stop doing whatever they want. So you can either let me out now, or I can go for the window.”

Grayson heaved a sigh and looked at Wyatt, who gave a reluctant nod. With the door clear, Everly unlocked it and stepped into the hallway.

“You’re making the wrong choice,” Wyatt said.

“That’s easy, considering prints only get wrong choices.” She shut the door behind her and headed for the stairs.

Outside, the human’s deep tenor caught in the space between buildings, ringing against her skin and raising hairs on the back of her neck. It was like pushing through musical waves as she approached.

The keeper was slumped against the glass building that housed their community pool. It was a wonder of science that the glass didn’t strain against his weight. His tailored gray uniform was rumpled, a hip flask poking out of his pocket. His eyes were closed, apparently too engrossed in belting his heart out to even the barest part of his job description.

She stopped by his knee—close enough to be heard, far enough that she could make a break for it. She opened her mouth to confront him, but the urge died on her tongue each time. He was a mess, but something deep in her gut didn’t want the music to stop.

When the song was apparently finished, his silence felt strange. The human sighed deeply. His chin sagged to his chest and his dark eyes fell to the lone figure beside him—noticing her, but not alarmed. “I wrote it myself you know,” he said, raising his eyebrows at her.

Her heart hammered under the closeness of him, the weight of his attention. Still, she made sure he saw her displeasure. “Most of that was nonsense, so I wouldn’t be boasting,” she said. “Look, can you be drunk somewhere else?”

“You didn’t like it?”

“You’re keeping the entire sector from sleeping.”

The keeper’s unfocused gaze lifted, noticing for the first time the illuminated windows on either side of him; curtains all drawn, curious eyes fearfully peeking between the shutters.

He giggled like he was laughing at his own joke. “Oops.”

Her blood boiled at his stifled snickering, making her bold enough to storm closer. “Is that really all you have to say for yourself? You fucker.”

His laughter tapered off, and he leaned down closer to eye her with a bemused frown. If not for the faint smile lifting the corners of his mouth, she would have bolted. “Wow. You’re mean,” he said. “Why are you so mean?”

Everly drew in a deep breath and let it out as an even deeper sigh. “Because. I’m sleepy.”

“Then why don’t you go to sleep?”

She wasn’t sure which was worse—that he might be toying with her, or that his question might be genuine. Dropping her chin for a moment, she pressed her fingertips to her forehead.

“I can’t,” she said, stretching out each syllable like she was explaining something to a toddler. “Because there’s a giant fucker drunk off his ass and singing like it’s his last night on earth.”

“Why are you talking so slow?”

Throwing her head back, she groaned. “In hopes of piercing the fog occupying the wasteland between your ears!”

As he pursed his lips, she could practically see his inner cogs turning as he processed what she said. “Huh. You’ve got a way with words,” he decided finally. “Ever thought about writing lyrics?”

“What is wrong with you?” She started pacing, feeling like she might spontaneously combust if she didn’t get the energy out. All the while, she kept her eyes trained up at him. “Do you have any idea what it feels like to have no control over anything? No! You don’t! Do you have any idea what would happen if I showed up drunk to work? Hell, they’d probably make me a trinket if I even seemed a little hungover! But here you are, barely able to stand. The worst part is that I can’t even be at your level to tell you off properly! If you remember this when you’re sober, you’re probably just gonna laugh—”

He was so sloppy in his motion, she had plenty of time to react and dodge his incoming hand, but she froze up like a rabbit cornered by a wolf. She didn’t react until his hand wrapped around her waist and swept her off the ground. Weightlessness left her short of breath. All at once, she was a mass of flailing limbs, a scream starting to tear through her.

“Shh.” He stole her voice, pressing his free index finger over her mouth. She went still, trying to lean away from his touch as her shallow breaths ravaged through her. He frowned deeply, as though trying to make sense of her fear. “Easy. I just saved you from getting soaked.”

He nodded at the ground. Water glinted under the starlight—a dip in the asphalt she hadn’t noticed in her rage. She brought her gaze back to him and nodded as best she could.

“Not going to freak out?” he asked.

She shook her head, and he tentatively pulled his finger away, briefly pressing it to his own lips in a shushing motion as his stupid smile returned.

“Great,” she breathed, hating how her voice cracked. “My hero. Now put me down.”

It felt like a reasonable and straightforward enough request to her, but apparently he didn’t see it that way. He shifted where he sat, folding one long leg up close to his chest. Much to her horror, he brought her over his knee and set her down atop it. She sat up straight, bracing her hands behind her and grasping fistfuls of fabric. Her shoes scrabbled against his thigh, trying to find solid purchase.

“You’ve got to be shitting me.” She didn’t have to crane her neck to glare at him now, at least. “I said down! This is not down!”

“You said you hated not being at my level.” He cocked his head and pouted, as if he had really thought she would be pleased with his idea.

“You’re…” She would have thrown her hands up if not for the fear of sliding down his lap and dangerously near his crotch. “I don’t know what you are. Sing all night if you want, just put me down so I can go home. I’ll have one of my roomies knock me out with a blunt object.”

“Hang on, hang on.” His gaze danced over her inquisitively, making her go rigid. “One of those guys said you had a long shift. Where does an angry girl like you work?”

She bit her lip and gathered patience, praying he’d let her go if she humored him. “For an electric company in the city. Now—”

He chuckled. “What are you, like an electrical engineer?”

“Are you this funny when you’re sober?” she deadpanned. “No. When there’s electric problems in building walls or heavy machinery in need of maintenance, I go inside with a camera, and my handler guides me on how to fix it. It’s really not that fascinating.”

"So... what's your name?" the keeper asked.

She narrowed her eyes cautiously. "Why?"

"So I can put it in a song. To make up for keeping you awake tonight."

She figured he meant to put her in some incident report, but he looked too hammered to even think about doing his job right. When he continued to stare expectantly, she sighed.

"Everly."

"Everly... A song for Everly..." His eyes lit up. "What if I called it Foreverly?"

Sparing the ground a longing glance, she made a face at him. "What if you put me down and we call it a night?"

~~~

(Author's note: Once again, I am at the mercy of the sunshine/grump trope :') Though I imagine that being around a drunk, unfamiliar giant would put anyone in a wary mood aslkdjf. BUT Micah's a good boy 💕 What do you think of their first meeting?)

#g/t #giant tiny #gt writing #g/t writing #gt #print universe #trinket universe #micah #everly #mywriting #foreverly

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matan4il · 1 year

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thank you for everything you do <3

Nooo, Dom, this has got to be the sweetest! Thank YOU so much for simply being here and being YOU. I'm a happier person simply knowing you exist. I hope you're having a beautiful day, my darling, and I'm so thankful to you for making mine better. I don't even know how to express my love enough, so I hope a barrage of hugs is cool with you! (as always, my ask tag) xoxox

#ask #dominikadecember #fandom love #kindness #thank you!#how are you this wonderful?#hugging you foreverly!

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franklyimissparis · 4 months

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who’s who in “let ‘em in” by wings (1976)

and some other thoughts on the song

prefacing this by saying that paul himself has changed his own interpretations and offered many explanations up for each name mentioned in the song! i don't necessarily think there's one right answer about what's about who - paul is known for writing about multiple things at once and having many layers of inspiration behind his lyrics. i will mostly be focusing on the names paul lists off within the song, in the order they appear, starting with:

- sister suzy: suzy was linda mccartney's alter ego within her own band, suzy and the red stripes which was active at the time this song was written. paul has stated on many occasions, including in “the lyrics”, that sister suzy is a reference to linda.

- brother john: a lot of articles reference brother john as being john eastman, linda's brother, while others reference john lennon. paul himself said it could be either. but if we're being honest, the first person paul's gonna think of when someone says “john” is lennon, hands down.

it's worth noting the use of sister when describing linda, paul's wife. while it could make sense in the context of the line brother john being john eastman (john and linda being actual brother and sister to one another), i think it's valid to examine the other potential meanings as well, particularly if we think of brother john as john lennon. it places paul's relation to them both as, firstly, familial and implies an equality in the roles they've served within paul's life. starting the list of people with linda (placing her as the most important as the lot) and then john second is interesting as well. we've seen countless examples of paul and john both comparing their relationships with their wives to their relationships with each other and i think it's striking that paul does this here, whether consciously or not.

(nowadays, paul's brother and sister in law via his wife nancy are actually named jon and susie, coincidentally enough.)

- martin luther: paul writes in "the lyrics" that this is about MLK which i'm sure it partially is but also there is an account of the other three beatles jokingly calling john "john martin luther lennon" in the early days though i couldn't find a solid source for this. there is the infamous 1985 hunter davies quote from paul's off the record phone call with him where he called john “martin luther lennon" but that was obviously years after let 'em in and in a massively different context (though potentially this could suggest that it’s a comparison he’s mentally made before but that’s a bit of a stretch, evidence wise lol). i’ve also heard people say martin luther could potentially be a reference to george martin as well, which is possible. others have speculated that this is a reference specifically to martin luther and the 95 theses (“knocking on the door" i.e. nailing the theses to the door) which paul says may have been true on an unconscious level but wasn't purposeful.

- phil and don: the everly brothers, one of paul and john's earliest and biggest influences as young lads. they were heavily inspired by the everly brothers when they performed as their duo, the nerk twins. they also referred to themselves as the foreverly brothers on other occasions.

- brother michael: paul's brother mike, unsurprisingly. though paul also states in “the lyrics” that this might have been a reference to michael jackson as the timing works with paul and linda meeting the jackson 5 around the same time as well but i think realistically he probably mostly had mike mccartney in mind with this one.

- auntie jin: paul’s real and favourite auntie from liverpool. saw one very rogue take that it’s meant to sound like ‘antigen’ but, quite frankly, i think that’s a bit horseshite.

- uncle ernie: in “the lyrics”, paul mentions that he has a cousin called ian who was sometimes referred to as "ern". but also states that at this point he was just playing with words and sounds and this probably wasn't his intention. previously, paul has attributed the line as a reference to keith moon, who was close to the mccartneys in the 70s prior to his death and played the character of uncle ernie in the film tommy (1975). it also could refer to ringo starr as well, as he voiced uncle ernie in the LSO's recording of tommy. ringo himself referenced let 'em in ("someone's knocking on the door/someone's ringing my bell") in 2003 in the song "english garden" which suggests that, at the very least, he felt as though there was some connection to him there.

- uncle ian: like previously stated, paul has mentioned his cousin ian as potentially inspiring this line but personally i think uncle ian could be a reference to paul himself. "ian iachimoe" (meant to phonetically sound out "paul mccartney" backwards) is one of paul's many pseudonyms, thought to have been created around 1966. he signed the lyrics of paperback writer with "yours sincerely, ian iachimoe" and it is also said that in order to distinguish themselves from the rest of his mail, paul would tell his close friends and family to address letters to ian iachimoe so he would know to read them.

paul referred to "let 'em in" as the musical equivalent of a "stocking stuffer" in “the lyrics” which i'm sure it was in his mind but me and my tin hat will be reading deeper into it as usual! this song reminds me quite a lot of “call me back again" in the sense that i think (subconsciously) it may be a bit of a poke at john to get in contact with him.

it's important to note that the album was written/recorded/released around the time of the infamous “it isn't 1956 anymore” incident where, according to john, paul kept showing up at the dakota with his guitar after sean was born without calling ahead. john would let him in but would be a bit put off about it until one day he gave paul a bit of shite for it and paul took it quite personally. while the actual incident is noted as happening in april of 1976 (according to the beatles bible) if it's true that, as john says, this happened a few times there could have also been some tension with paul appearing at john's in the prior months before paul recorded the song in february of 1976.

paul has spoken of the song as reminiscent of a typical party in liverpool where there's sort of a constant stream of family and friends coming through the door - this could be something paul is nudging john to remember (especially with the references to their teenage musical influences and acquaintances and paul's family members that john himself once knew personally.) something along the lines of "oh come on, john, you've gotta just let people into your life, you can't shut out the people who love and miss you. this is how it used to be with us, don't you remember those days?" ... but that's just my interpretation. anyway sorry this was so long but i just thought i'd share in case some of you hadn't heard all the possible interpretations of the lines :))

#think this is my longest post to date #all right time to go to bed seeing as it’s SIX and i’ve spent the past two hours compiling this 😭😭#paul’s gay subconscious #< my new favourite tag #paul mccartney #wings #wings at the speed of sound #john lennon #mclennon #john and paul #linda mccartney #ringo starr #the beatles #keith moon #mike mccartney

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sosuperawesome · 2 years

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Moth Cookie Cutters // Foreverly Sweets Co

#moth #cookie cutters #baking #etsy

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azuilys · 2 months

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That One Boy Who Couldn't

-Azuilys

Foreverly present petitely manner boy.

Light and gracefully flowing limbs,

attached to a body that contains a heart

and mind that would never harm the other

or any other.

Vocally easily listened, a voice

unconfrontationally toned.

Weak.

A sudden breeze is adequate to divert his

preemptively steadied course, such as his

nature. Trapped in a plain where tough times

become tougher, his existence is

threatened.

No escapism exists in a world filled of

unjust and chaotic behavior. Running

towards liberation would only lead to the

core chaos of which escape from was

promised.

To escape the world he created his own. A

home world in the psyche, confined behind

erected walls built on a slippery

foundation, which had to be periodically

rebuilt post-destruction from the outside

world. Within this confinement, days are

years and years are eons.

A blank slate of creation to be filled with

thoughts, hopes and dreams that would

never phsyically manifest. Preemptively

planning behind the safety of confined

walls provided temporary euphoria.

There is no war within the walls.

With the knowledge of everything wanted

thing and wanted thing to do, the journey

towards their physical creation began. The

never thought to be acquired, courage

confidence and ambition was obtained

and he finally gathered enough for him to

leave his highly protected plain.

When he returned to the physical world, it

was already over, there was nothing he

could do, he spent days inside there

thinking but out here, years passed too.

#literature #poetry #poem #writing #escapism #thoughts #psyche #dreams #safe haven #mental health #psychology #writers on tumblr #writers of tumblr #poets on tumblr #poets of tumblr

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anotherkindofmindpod · 8 months

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SUMMARY Phoebe and Daphne answer listener mail! In Part 2 they tackle: the controversial production of Strawberry Fields Forever, an alternate theory on Paul and Jane’s breakup, what Mick Jagger and Pattie Boyd know about J/P in India, Projecting Onto George, granny music, voodoo dolls and more! Listen HERE

FULL LIST OF TOPICS Security Blanket Midas Man Pattie’s Post What Does Pattie Mean? Maharishi Hit on a Beatle? Sympathy for Teenage Paul Estranged Fiance Theory Projecting Onto George SFF (John’s dissatisfaction) Paul’s Farm Maxwell Paul and Jane: Alternate Theory Infamous Postcard Voodoo Dolls Mistake Feedback Mozart Prodigy Discussion Granny Music If I Fell Foreverly Brothers Morbid Question

PLAYLIST What You’re Doing THE BEATLES 1964 From Me to You THE BEATLES 1963

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whitealbum · 1 month

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just remembered the foreverly brothers. what was that about

#gay gay pussy gay

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greendayauthority · 3 months

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#billie joe armstrong #green day #foreverly #norah jones #2013 #uno dos tre era #photoshoots #side projects

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myvinylplaylist · 4 months

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Billie Joe + Norah: Foreverly (2013)

Reprise Records

#my vinyl playlist #billie joe armstrong #norah jones #dan rieser #tim luntzel #charlie burnham #the everly brothers #green day #reprise records #folk music #country music #compact disc #album cover #album art #jonny lam

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jerzwriter · 1 year

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Meet My Tobias Carrick - Tobias/Casey

Dr. Tobias Carrick

Book: Open Heart Current/ForeverLI: Casey Mactavish (F!MC) 💕 Face claim: Jesse Williams Full Name: Tobias Charles Carrick Nicknames: T (most everyone), Dwight (Ethan), Babe, honey, sexy, and other nauseating names (Casey) Age/DOB: February 19, 1984 Born: Washington, D.C.

More information here…

Meet "My" Tobias Carrick Character Profile

Meet Tobias & Casey

Tobias The Early Years

Tobias The Hopkins Years

Tobias The Between Years Between Hopkins & OH Book 2

Tobias & Casey Masterlist Meet Casey

#tobias carrick #meet my oc #tobias x casey #open heart choices #open heart

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squashedcatsorchestra · 1 year

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Четверговая соль 🎶

С четвергом, друзья! Если вдруг вам не хватало колыбельной на вечер, то сегодня их здесь целых пять:

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Так повесилась, что как и на прошлой неделе начинаем с очень незатейливой по форме песенки! Из аккомпанимента - качания на гитаре и снова движения вверх-вниз. Припева почти что нет, то есть формально он присутствует, но на деле это что-то вроде бриджа: небольшая смена темы и манеры исполнения (низкие ноты куплета сменяются фальцетом), минимальный повторяющийся текст. Зато какой! Flow down all my mountains, darling, feel my vallies. Монументальный, масштабный образ, усиливающий ощущение спокойствия и нежности.

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В самом прямом смысле - ещё одна колыбельная под гитару. Аккомпанимент тоже простой, на три счёта, как вальсок, а у меня ассоциируется с качанием на качелях (и ещё с черёмухой, которая цвела и пахла под моим окном, когда я, свешиваясь со своего третьего этажа, ловила мобильную связь перед сном, а потом дослушивала ровно то, что чувствовала в телефонных разговорах: When morning comes and I'm still thousand miles from your side - don't give up). А вот в вокальной части темы постоянно меняются, даже в пределах стихотворной строфы переключается ритм, добавляются синкопы. Припева нет совсем (да он и не нужен), есть меланхоличный бридж, склоняющийся к минору в отличие от остального материала, а заканчивается композиция фейдом, вполне логичным для колыбельной.

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Песня с говорящим названием: чтобы дослушать до конца несколько затянутое аутро, которое сошло бы за отдельный трек, понадобится терпение. Однако тем кому эта традиционно-рóковая композиция придётся по душе, достанется ещё минуты полторы удовольствия. Этот экземпляр уже пободрее предыдущих, в основном за счёт боя в припеве. Кстати, в конце второго припева появляется интересное украшение: микротема с вариациями, которой соответствуют несколько строчек с монорифмой (что на английском - дело нехитрое)), как будто исполнители смакуют этот момент. Из текста самое-самое - "I seat here on the stairs 'cause I'd rather be alone/ If I can't have you right now, I'll wait, dear". Ещё один классный компонент - художественный свист.

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В "Миссиссипской" подборке уже была песня с альбома Foreverly Билли Джо Армстронга и Норы Джонс, так вот - ещё там есть эта прекрасная колыбельная. Поскольку это народная вещь, существует миллион вариантов текста: где-то девушка доверяет целовать себя только сестре, где-то добавляется поезд, который уносил единственную любовь лирического героя. Когда я сама играю на гитаре эту нехитрую мелдию в четыре аккорда, сочетаю все варианты текстов и добавляю от себя: "...And you're gonna kiss my ruby red lips, you-u-u-u-u".

У Билли Джо и Норы очень здорово получается держать внимание слушателя без динамических оттенков или смен тем, просто на спокойном piano под тихий гитарный бой. Дополнительного умиротворения песне, кстати, придаёт мажорный лад - минор в таких композициях вносит оттенок тревожности.

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А это - колыбельная для ночей, когда вы решили не спать, а пойти на крышу считать звёзды! Начинается с негромкого фортепиано с достаточно глубоким звучанием за счёт басов. К припеву рок вступает в свои права - здесь уже и ударные, и эмбиентные струнные, и яркий вокал с чередованием фальцета и грудного звука (высокого и низкого соответственно). Бридж решён в виде вокализа на фальцете, а последний припев начинается с классического приёма, когда вокал вступает почти из тишины, но к второй строке наступает катарсис, к которому подводит акцентированный барабанный бой. И элегантный финал - почти речитативная последняя фраза на фоне резко затихающих струнных и фоно: Tu parlami, stringimi, oppure fingi d'amarmi (поговори со мной, обними меня, или же притворись, что меня любишь).

#Youtube #sco четверговаясоль #foy vance #guns n roses #billie joe armstrong #modà #ok go #музыка #звук

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