#Her main instrument is bass but I feel like shes gifted with a lot of other instruments | Explore Tumblr Posts and Blogs

lunarifie · 3 months

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Infinight Interns Modern Band Au:

(Because I cant stop thinking about it / send me asks!!!)

Bart the Guitarist

- Main vocalist/guitarist. (Need I say why?)

- Prefers acoustic over electric because he has fidgety hands and acoustic requires more strumming and energy.

- Has a wide vocal range.

- Can play multiple instruments but mostly plays guitar.

- Switches between acoustic and electric depending on shows, songs, or how much energy he has.

- Basically the person who formed the band. Thought of the idea and convinced everyone else.

- Gives tips and tricks to his band members for performing on stage. (He’s the most used to stage performing and would often sign up at music venues soloing)

- He tries to motivate them to try new things, like singing or flashy tricks.

- Organizes and schedules all their shows. “Guys we got a gig!”

- He’s the main song writer, though he makes sure that everyone contributes and gives input. Everyone has their own individual songs that Bart’s helped with too.

- Bart and Gum Gum have pages and pages of made up/half assed songs they’ve written together.

Gum Gum and his Drum Drums

- The bands drummer. (He has drums in his inventory in tftsd)

- It wasn’t hard for Bart to convince Gum Gum to start a band with him. (He immediately agreed)

- Puts so much hype into his drumming that everyone else has to pump up their volume a bit.

- Mostly did drumming for fun, not really caring for how it sounded until Bart taught him some techniques.

- Likes to do stick spins (spinning his drumstick in his hand), at one practice/rehearsal it flew out of his hand and knocked Mudd in the back of the head.

- If you ask him how he drums so well he’d just say “I just play when it sounds good.”

- Gets sad whenever his bandmates argue or get frustrated. He tries to mediate. “Cmon guys, don’t fight…”

- He’s the youngest in the band and still in high school. He stayed back a grade and also looks older than his actual age. He gets bullied and teased for it. (Bart is often the one who comes running when this happens)

Kyborg the Keytarist

- Doesn’t let ANYONE touch his Keytar.

- Named it Chrystaliana after his mother (privately, his friends don’t know of its name.)

- His mother taught him piano at a young age, after she died he practiced relentlessly.

- His mother was a well-known pianist and he dreams to be as good as her someday.

- Was thrown into the foster care system but continuously ran away from each and every foster family.

- He has an ever-lasting Cool Kid act so whenever he mentions he plays the piano/keytar proudly and people slightly chuckle in disbelief “really?” he’s EXTREMELY defensive “Yeah? And what of it?!”

- Bart introduces Kyborg to the Keytar and he instantly thinks its the coolest thing ever.

- Tries to do Keytar solo riffs whenever he can.

Mudd the Bassist

- Mudd was the very last person to join the band, which required much persuading from Bart. “Cmon Mudd! You’re the only guy I know who plays that good!”

- Mudd isn’t much in it for the showmanship (Kyborg), or the money (Bart), or the fame (Kyborg/Bart) He’s more like Gum Gum, simply there for the fun of it.

- Mudd likes the low strumming of the bass, he finds it soothing.

- He has sensitive ears and often wears earplugs to their own shows. Kyborg also has sensitive ears but refuses to wear earplugs. “Just wear the earplugs, you’ll regret it later.” Eventually he gifts him a nice expensive pair that Kyborg can’t refuse (or else he’ll feel bad)

- Has the loudest laugh, this man CRIES, everyone was shocked the first time they heard it.

- Lots of deadpan jokes, gets goofier and sillier the closer he gets with his bandmates.

- Mudd hates the piano. His parents forced him to learn with a private tutor a few years back and he’s despised it since.

- This is kinda how him and Kyborgs first conversation went:

“and IM this bands beloved keytarist, formerly known pianist.”

“I hate the piano.”

“Oh…”

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musicollage · 3 years

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Atlas Sound. Logos, 2009. Kranky (USA) / 4AD (UK). ( Lyrics & Music – Bradford Cox ) ~ [ Album Review | 1) Pitchfork + 2) Pop Matters + 3) Drowned In Sound + 4) NME + 5) Prefix Magazine ]

1) As we've gotten to know Bradford Cox over the last couple of years through shows, interviews, and blog posts, one of the Deerhunter frontman's most appealing qualities is his deep and nuanced appreciation of the music of others. Some musicians listen to records to see how they work, check out the competition, or trawl for ideas; by all available evidence, Cox feels records, deeply. If he was born without musical gifts and couldn't sing or play an instrument, one can imagine him working at a record store, amassing an enviable collection while driving people on a message board crazy with the sureness of his detailed opinions. Whatever you think of his exploits as an indie rock media figure, Cox's music fandom is easy to identify with and also offers a portal into his own work.

Atlas Sound, Cox's solo alias, in one sense serves as a sort of laboratory for figuring out what makes some his favorite music tick, away from the expectations of his main band. Two collaborations on Logos, the second Atlas Sound full-length, are excellent examples of how music listening can be absorbed into original work. First is "Walkabout", a track Cox wrote and recorded with Noah Lennox from Animal Collective, whom Cox got to know during a European tour. Though Cox's music shades dark and Lennox's is often flecked with uncertainty and doubt, "Walkabout" is the sunniest pop tune of either of their careers. Coasting on a buoyant, twinkling keyboard sample, it is a starkly catchy and irresistible, a clattery post-millennial Archies tune that straddles perfectly the border between simple and simplistic. Interestingly, it also sounds very much like a Panda Bear tune.

Then there is Lætitia Sadier of Stereolab, who wrote the lyrics and sings lead on Logos' "Quick Canal". The song opens with some gorgeously textured organ chords and soon a steady-state beat and drums rise up in the mix, setting the kind of relaxed-but-propulsive neo-krautrock scene that Stereolab perfected very early on. Here Cox gets to play the part of the late Mary Hansen, adding "la-di-da" trills behind Sadier as she intones phrases in her unfailingly lovely, for-the-ages voice. He even throws in a "Jenny Ondioline"-style rupture about halfway through, sending the track into a breathtaking shoegaze section for its final four minutes, wherein it floats magisterially on a pillow of shifting guitar feedback. "Quick Canal" is almost nine minutes long and it doesn't waste a second.

On these tracks, the confidence Cox shows in melting his aesthetic into the soundworld of other musicians is striking-- both are unqualified successes, very different from each other but among the best things Cox has ever done. But they also sound a lot like the music his collaborators are known for. Cox's sympathetic support and sense of how to construct songs with others suggests a desire to expand the parameters of what Atlas Sound can be. And given his willingness to let others take the microphone on an Atlas Sound project on these cuts, I can't help but go back to Cox's words on Logos before the album was released, which suggested that this was to be less introverted and that was "not about me."

And then I remember that the cover of the album consists of a photo of Cox with his shirt off and the lyrics in the first two songs start with the word "I", which suggests that we probably shouldn't take these statements very seriously. While the songs may or may not be "about" Cox in the strictest sense, the overall vibe is at least as introverted as 2008's Let the Blind Lead Those Who Can See But Cannot Feel, and every note bears the same signature. With its strummed guitars, hushed double-tracked vocals, and tunes more reliant on ambiance and feel than melody or rhythm, Logos feels every bit as diaristic and personal, but with Cox, that's a plus. At this point, we're not looking to this guy for commentary on the outside world; we want to hear him wrestle with private demons in the sanctuary of his bedroom, bathing every sound in reverb to give the illusion of space and as a sonic balm against loneliness and figuring out how to make music as affecting as the stuff he loves to listen to.

So tracks like "The Light That Failed", "An Orchid", and "My Halo" (the latter two, though different in tone, are further entries in Cox's growing line of melancholy waltz-time shuffles) function primarily as the kind of eerie, blown-out mood music he has become very good at. They are amorphous sketches that still manage to convey feeling, capturing the sort of sad, exhausted, and fragile emotional state that is Cox's area of expertise. "Shelia", a taut pop song with a great chorus hook, is a change-up, though the repeating refrain "No one wants to die alone" fits with the rest of the record's themes. And "Washington School", with its dissonant chime of metallic percussion that sound like gamelan or evilly out-of-tune steel drums, contains the record's most interesting production, with thick drones reminiscent of Tim Hecker and menacing rhythm track.

So some things are different, some are the same, but all of it works well together. It's true that every time Cox ventures out of his comfort zone on Logos, you wish that he'd go even further and embrace extremes-- of tunefulness, tradition, noise-- that don't necessarily come to him naturally. He may yet take a big leap with Atlas Sound, but here the steps away, though rewarding, are tentative. For the rest of the record, Logos feels familiar and assuring, another affecting dispatch from a corner of indie music that is increasingly starting to seem like one Cox pretty much owns.

2) Take a quick gander at Deerhunter's discography and you'll notice a clear stylistic trajectory. From the confrontational noise of "Turn It Up Faggot" to the ambient preoccupations of Cryptograms to the straight-up indie-pop of Microcastle/Weird Era Cont., it's plain to see that as the band has evolved over time, its songwriting has increasingly tended toward the more accessible end of the spectrum. Unsurprisingly, it appears that Bradford Cox's other songwriting vehicle, Atlas Sound, is following a similar arc. On Logos, his second album under the Atlas Sound moniker, Cox provides us with 11 songs that are far less insular, though no less dreamy, than those he has penned in the past. While his fractured compositions still evoke the myth of the bedroom pop auteur, the songs on Logos sound considerably more refined than the lo-fi sketches being churned out by many of his peers. This, as it turns out, is a very good thing.

To wit: "Walkabout", the track that had the blogosphere buzzing with anticipation for the better part of the summer. Built around a squelchy organ sample lifted from the Dovers "What Am I Going to Do", the song simultaneously recalls both the acid-tinged psychedelia of Black Moth Super Rainbow and the technicolor pop of Brian Wilson. Of course, it's impossible to mention "Walkabout" without acknowledging its co-creator, Noah Lennox, a.k.a. Panda Bear. In many ways, "Walkabout" bears Lennox's fingerprints more than it does Cox's, with Lennox's wistful vocal harmonies echoing throughout the track's four-minute runtime. It's easy to see why Cox chose to leak "Walkabout" well in advance of the release of Logos; bright, bubbly and infinitely catchy, the song perfectly captures the mood of a fleeting summer afternoon and stands as one of the year's best singles.

"Walkabout" is obviously a standout, though it's also an outlier when approached within the context of Logos. While some may feel as if they've been misled, the good news is that the rest of the album is no less rewarding, if not quite as instantly gratifying. Take, for example, the opening suite that leads up to "Walkabout". Pitting disjointed acoustic guitar strums and distant, reverb-soaked vocals against a backdrop of aqueous noise, "The Light That Failed" succeeds at drawing the listener in while still keeping her at arm's length. "An Orchid", meanwhile, presents the listener with a dreamy ballad that feels like an indistinct outline for a Deerhunter song. Cox's vocals and the song's guitar hook are buried just deep enough in the mix to force the listener to dig a little. When "Walkabout" finally hits, it feels like a reward well earned.

Luckily, "Walkabout" isn't the only nugget of pure pop bliss to be found on Logos. "Shelia", a disarmingly straightforward slice of jangly college-rock, proves hard to shake, with its Pixies-esque melody and sun-bleached three-part harmonies. Lyrically, the song serves as a world-weary rejoinder to the sweetly nostalgic refrain of "Walkabout" ("What did you want to be / When you grew up"), with Cox explaining, "No one wants / To die alone", before promising the song's titular subject, "We'll die alone / Together." It sure goes down easy, though.

Cox has publicly acknowledged that Stereolab were his favorite band in high school, so it should come as no surprise that given the opportunity to collaborate with Lætitia Sadier, he puts his best foot forward. On "Quick Canal", he lovingly builds up and tears down a cathedral of sound for Sadier to inhabit, layering a deep bass groove, tambourine hits and a wall of gently panning organs atop a steady, shuffling beat. Midway through, the song falls apart, briefly taking a detour into glitchy noise before giving way to a squall of fuzzed-out guitars. Try as Cox might to obfuscate the vocals, however, Sadier's voice proves indefatigable. To her credit, she sounds right at home here, bouncing her voice off of the song's jagged edges to produce a track that's equal parts haunting and triumphant.

With regard to electronic composition, on Logos Cox sounds more confident than ever before. Samples and electronic instrumentation form the underpinnings of many of the album's songs, though not to conspicuous effect. Penultimate track "Washington School" illustrates this point better than perhaps any other on the album. Opening with a loop built from fragments of a minor key piano line, the song soon piles on a pounding, bass-heavy beat, chimes and a playful synth line, blossoming into a full-on folktronica number that recalls Four Tet circa Rounds. Somewhere in the distance, Cox's disembodied voice rings out: "Shine a light / On me."

If Let the Blind Lead Those Who Can See But Cannot Feel was the product of Cox's willful isolation, then Logos is the sound of the auteur stepping outside of his bedroom to engage the world outside. Though it cedes little of the hazy delivery that made Let the Blind… so compelling, Logos brims with a wide-eyed energy all its own, conveying a palpable sense of optimism that's all too rare in Cox's oeuvre. This isn't too surprising when one considers the circumstances; the path that led Cox to the album's creation -- globetrotting tours with his idols, collaborations with some of the most distinctive voices in indie rock -- is the stuff of dreams for hermetic music nerds. Perhaps that's why Logos sounds as vibrant as it does: it's the result of Bradford Cox living out his dreams rather than just dreaming them.

3) One of many unsatisfactory things about end-of-decade retrospectives is that musicians are rarely so accommodating as to plot their careers in nice, convenient ten year cycles. Nonetheless, that’s how posterity tends to remember them, regardless of finer details. Thus the Kinks are Sixties artists, the Clash a Seventies act, Talk Talk an Eighties band, Nirvana from the Nineties, and you’d comfortably stick a punt on The Strokes and Sufjan Stevens ending up defined by this decade we’re exiting.

But what of Bradford Cox? Even if you were aware of Deerhunter's raucous 2005 debut ”Turn It Up Faggot” at the time, you're a wizard or a liar if you foresaw how their frontman was going to fill the years 2007 to 2009. That is to say: three Deerhunter albums (‘tis a fool indeed who views Weird Era Cont. as anything other than a record in its own right), two EPs, and a solo project as Atlas Sound that’s yielded God-know-how-many free downloads, as well as last year's Let The Blind Lead Those Who Can See But Cannot Feel, and now – an epic 22 months later - Logos. That all of this bar the odd freebie has been good to exemplary is simply astonishing, and points to an artist whose profligacy and cult popularity has him nicely set up to be a defining artist of the next decade.

And yet... anomalous as ”Turn It Up Faggot” may seem, such scabrous origins are indicative of a palette that has been cooling and quietening ever since Cox first intersected with the limelight. The soundbite-friendly ‘ambient punk’ aesthetic never really lasted beyond Cryptograms, with Microcastle canning the abrasiveness in favour of reasonably straightforward shoegaze set off with dreamlike Fifties flourishes. Having arrived at something like a commercial sound, another artist might have stopped there; however, Cox has ploughed right on through, this year’s Rainwater Cassette Exchange far and away Deerhunter’s most introverted work, a retreat into quiescent childhood reverie.

Logos has much more in common with Rainwater... than Let the Blind..., for the most part ditching the dissonant electronics in favour of delayed acoustic guitars and old-time pop structures. On the face of it, it sets out Atlas Sound’s stall as simply being whatever Cox may do sans Deerhunter. Yet in a way the 'ambient solo project' tag still kind of makes sense. Strictly speaking ambient music is defined not by instrumentation, but by its evasion of the consciousness. Whole swathes of Logos are blurred and indistinct - technically melodic, hooky songs treated and delivered in such a way that they all but self-negate, leaving nothing but fleeting impressions: the winsome viola that arrives in ‘Attic Lights’, just as Cox mutters ”maximum pain, maximum effect”; the gay singer’s unsettling yearning for traditional marriage on ‘Sheila’ ("we’ll die alone, together"); the barely discernible mantra ”all is love” that briefly ghosts through ‘Washington School’.

This might sound like a way of romanticising an unmemorable album, but that's far from the case. These songs are bunched together into two dreamy, fog-like passages that serve as a backdrop for a handful of the most tangible tunes Cox has ever written, soaring atmospherically above the misty dreampop. Opener ‘The Light That Failed’ roots itself in the consciousness through eerily torpid glitching, Cox’s disconcerting use of something approaching a falsetto, and the doomy langour of its titular lyric. It sets up an album that frequently drifts into disquieting areas, yet never quite follows through on this early moment of dread. Indeed, delightful Panda Bear hook up ‘Walkabout’ serves as definitive proof that the light hasn't failed at all. While much of Cox’s early pop obsession speaks of a desire to creep out of the now entirely, ‘Walkabout’ is far more tangible and good natured, thanks largely to Panda Bear’s high, comforting tones and the appropriation of the hook from actual vintage Sixties pop gem ‘What Am I Going To Do?’ by The Dovers. Ironically for a song built around a 40-year-old tune, nothing, else on Logos has ‘Walkabout’s immediacy, though the excellent title track comes close, a rattling Strokes-alike number slightly removed from the world by Cox’s arsenal of floaty FX.

As we’ve known ever since last year’s leak of the Logos demos, the centrepiece is the eight and a half minute, wholly electronic ‘Quick Canal’. Though tamed a little from the leaked 13 minute instrumental, this more mannered, Laetitia Sadier-sung incarnation is a better fit here, and still towers above the skyline. The Stereolab singer adds an inescapably Enya-ish quality to the gentle early stages, but by the time the song’s swooshing, snowy motorik has kicked into full gear she fits in immaculately, an aloof Old World passenger on a song charged with haughty European electronica. It perhaps doesn’t sound so jaw-dropping as it did in isolation, but a lot of that can be attributed to an intentional effect of the surroundings. Those short, subliminal songs serving to filter away reality and focus, like half remembered dreams that leaves the senses baffled and feverish.

Logos is a gorgeous, hallucinatory and somewhat sickly outing. While there's every chance he'll wrong foot us, and soon, this record is entirely in keeping with the increasingly self-erasing route Bradford Cox has taken as a musician; it's hard to stifle a shudder at that blanked out cover image. Maybe Cox will go on to be a star next decade - he's a gregarious, prolific man liked by critics. But listen to his music, and that doesn't feel quite right. Maybe he'll become an icon. Or maybe he’ll finally make his escape from our timestream entirely, leaving us to wonder if he was ever there at all.

4) Much like Starbucks, Bradford Cox has become a ubiquitous presence. What with his work with art-rock outfit Deerhunter, his involvement in Karen O’s official soundtrack for Where The Wild Things Are, and now this, his second solo offering under the Atlas Sound banner, you’d be forgiven for thinking that such familiarity will start to breed contempt. But you’d be way off the mark.

There are two things you should know about this unlikely lo-fi hero of gangly deportment (he has Marfan Syndrome, a genetic disorder that stretches his limbs and strains his heart) and a girlish speaking voice (the affliction for this is yet uncertain). Firstly, it is impossible to dislike him (just see Wayne Coyne’s spoof argument with him on YouTube, branding Cox a “dick”). Secondly, his creative output has proved him to be one of – if not the – most forward-thinking and inspiring musicians of our generation.

So, as Cox takes time out from Deerhunter, along comes ‘Logos’. Less of an experimental minefield than its predecessor, ‘Let The Blind Lead Those Who Can See But Cannot Feel’, it sees Cox weave in and out of dream-like sequences, such as the sombre ‘The Light That Failed’ and ‘Quick Canal’, the latter featuring the sweetly masculine vocal of [a]Stereolab[/a]’s Laetitia Sadier; while ‘An Orchid’ pitches in as the aural equivalent of a David Lynch storyboard, guided along with looped noises and whimsical vocals.

It’d be easy to overlook Cox’s lyrics when the soundscapes are this rich and ornate, but there’s a delicate exploration of the most human of sensibilities and yearnings on ‘Logos’. He opens up the emotional vaults on ‘Sheila’, pining softly that “no-one wants to die alone… we’ll die alone together”. Likewise with ‘My Halo’, where Cox reveals “My halo burned a hole in the sky/My halo burned a hole in the ground… so I wait for polarity to change”. There’s much warmth and playfulness to be found here too, the unfeigned honesty and childlish desires expressed on ‘Walkabout’ – featuring the falsetto of [a]Animal Collective[/a]’s Noah Lennox – with its lyric “What did you want to see?/What did you want to be when you grew up?” being a case in point.

Cox may have tagged Atlas Sound as just another side-project, but ‘Logos’ is a clear indication that his solo creative output is just as richly rewarding as what came before.

5) For a project originally started as a way for Deerhunter frontman Bradford Cox to give a voice to his despairing isolation (he records completely alone) as a teenager, Atlas Sound is starting to sound like an arena-filling, widescreen pop project. Logos, Cox’s second proper solo album, takes the dense, gray worlds of Let the Blind Lead Those Who Can See, But Cannot Feel and puts them through a rainbow, delivering a splendid album.

If there’s one word to describe Logos, it’s “watery.” And in that regard, Logos shares a lot in common with Merriweather Post Pavilion (and Deerhunter’s Rainwater Cassette Exchange from earlier this year). Both albums trade in dreamy avant-pop landscapes buoyed by soggy atmospherics. “Criminals” sways like a shipping vessel in choppy seas, while the album’s great closing third (“My Halo” through the title track) sounds like it was transmitted from that underwater base in the third season of Lost. Cox is still reliant on the general ambiance that envelops his solo work, but here he’s willing to let his vocals float above the mix. And while musically this is brighter, he’s still all Debbie Downer. Old standby lyrical tropes of growing old (on “Sheila” Cox sings “we will grow old” like he’s reassuring someone else), loneliness (“Attic Lights”) and lost hope (“The Light that Failed”) show up repeatedly, and he still sounds like he’s on his deathbed when he sings.

But for an album created largely by one guy alone in his room, the guest performances shine the most on Logos. Stereolab’s Lætitia Sadier wrote the lyrics for “Quick Canal,” a sprawling, shoegazey track that never loses its motorik motion, peaking repeatedly in its eight minutes. The bubbly “Walkabout,” the high-profile track with Animal Collective’s Panda Bear lives up to all the hypertext spilled about it this summer, delivering the best of both Panda Bear’s effervescent youthful innocence and Cox’s wistful yearning.

Logos, while just the second solo album from the frontman for a band of marginal fame, represents the latest and greatest chapter in Cox’s ride to indie stardom. He rose to prominence mid-decade as a confrontational trickster riding blog-hype (circa Cryptograms), continuing with a solo album to build his brand (Let the Blind), an indie-rock masterwork (Microcastle) and a solo album of nearly as high repute (Logos). As for what’s next, Cox has remained mum (though Deerhunter might be taking a hiatus), but with Logos, he ensures we’ll all be waiting.

#rock music #art rock #atlas sound #bradford cox #kranky #4ad #2009 #2000s #2000s rock #pitchfork #pop matters #drowned in sound #nme #prefix magazine #review

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vesuviansunshowers · 4 years

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Apprentice Introduction: Orelia F. Soranzo

Hello everyone! I hope all is well~ I have been (and currently) in the process of sorting out a more thorough and comprehensive bio of my fan OC, Orelia for the longest time. While I was initially hesitant to post about her before perfecting her bio, I was very inspired by others posting about their lovely OCs~

I do have a backstory and other details in the works but, I was tired of her hiding her away from you guys. This is an introduction to my girl! I hope this finds everyone well, and I hope you all like her~ Feel free to ask about her if you have a liking towards her! (o^ ^o) A special shoutout to @thecardsimagine and @arcane-doodles for helping me shape her while creating her! They are talented and sweet people! Please do check out their blogs and content once you have the chance! I also want to note that it is very likely that I will edit and add more to this post to add more details about her and such! Without further ado, her bio is under the cut! Enjoy!

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EDIT 7/10/2020

Soo I have been encouraged by many people, to finish her bio! ^^ You guys know who you are, thank you so much~

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Disclaimer: All events(s), place(s) and people(s) in this OC introduction are fictitious and purely based on my imagination, except the mentions of the characters, places, and events of the game, The Arcana, which belongs to Nix Hydra.

Orelia Faven Soranzo

(Made in Picrew, link here)

Full Name: Orelia Faven Soranzo Height: 156cm/ 5′2-ish Zodiac: Taurus Birthday: May 17 MBTI: INFJ Age: 23 (Beginning of gameplay!)

Appearance

Skintone: Warm-toned Golden Brown.

Eyes: Dark-brown doe-eyes. Virtually looks black unless in the light. When practicing magic, her eyes glow gold.

Nose: Nubian nose (think of Beyonce’s or President Obama’s nose!)

Lips: Full and plump lips. Sometimes would wear lipstick.

Hair: Deep Brunette hair. Wavy/ Type 2a-c hair texture. Waist-length. She will pin up her hair with a hair stick if necessary or braid it back.

Physique: Mesomorph. Slender yet a soft and rounded form.

Miscellaneous

Favorite Meal: Beyaynetu Favorite Flower: Peonies and Red Carnations Favorite Fruit: Soursop Favorite Drink: White Rosehip tea blend Role: Fan-Apprentice, Fan-made Love Interest Love Intrest: Julian Devorak Familiar: Reu, a Rufous Hummingbird

Personality

When she was young, she was spirited and bright. However, due to her past traumas, she is reserved, however, she is warm when she is comfortable.

Sugar and Ice Personality: Stoic upon meeting with a saccharine essence once she warms up to others.

~Her positive traits: Attentive, Calm, Educated, Sentinent, Altruistic

Poised but down to earth. While she was raised with both privilege and simplicity, Orelia is modest.

She maintained some of her regal upbringings despite her hardships (this attributes to some people believing she’s hard to approach). Once she warms up to someone

She is very attentive and careful with her words, doings, and reactions.

~ Her negative traits: Reserved, Cool, Formal, Conflicted

Bottles up emotions, as she is wary at opening up to people.

She so private, that took years to tell her friends and loved ones about her past (and even still, she gave them a highly abridged version).

She tends to be conflicted about her thoughts and how she opens up to others.

Backstory

《 Content Warning: mentions of death, abduction, s*xual *ssault, pregnancy. Any sensitive topic will have a warning, as well as a downward arrow (↓) Next to the text 》

→ Born to Larion Soranzo (a Nobleman, Member of the Royal Chorus) and Nardos of Ezana (A Courtesan), in the land of Elgonia, North East of Praka

Larion is the second (Middle Child) son of Silvius Tiziano de la Soranzo (Duke) and Ersa Bianchini (Silvius’s wife). His siblings include Desdemona (his half-sister, Wizardess, lives in Vesuvia, shop-owner), Johannes, and Katerina.

Nardos is the 3rd daughter of Beruk (A farmer) and Eleni (a Seamstress, wife of Beruk). Her siblings include Maryam, Daveed, Zaira, Seyon, Makena, and Lishan.

→ Orelia has two half-siblings (of her mother, Nardos), Nasi and Addis. She is also the youngest of the three.

↓ Nardos suddenly falls ill and passes away from consumption (also known as tuberculosis, not the plague) when Orelia was 8 years old.

《CW: The next bullet point is grey as it mentions kidnapping and forced labor. Feel free to skip.》

↓ After she turned ten years old, Orelia, brothers and father were ambushed by an enemy of her Grandfather, Silvius,(he was a shady guy, screwed many people over, abused his power, and such.)

↓ The adversaries of her grandfather ended up abducting Orelia for ransom in Odaesi, a peninsula South of Elgonia. The only one who knew this was that grandfather, but the whole family thought of the worst.

↓ Her abductors ended not getting their money but felt somewhat remorseful. They took Orelia to their lord and had her pay off her grandfather's debt in servitude for 4 years.

→ At this point, Orelia was convinced that she was an orphan but missed her family deeply. So her main motivation was to go home at least to see her aunts, uncles, and cousins. She went through a lot in Odaesi (the country where she worked).

→ During her tumultuous time, she had two friends; Tiya and Cyril (who eventually becomes her boyfriend uwu.

→ After she completed servitude, she worked a few jobs so she can have money to leave. She was a seamstress, a dancer, and a gardener.

《CW: This next bullet point is grey as it mentions s*xual assault and death. Feel free to skip.》

↓ During this time she was violated by a stranger and ended up getting pregnant. She decided to proceed with the pregnancy after a failed attempt of abortion, however, the baby dies shortly after preterm birth.

As a way to protect Orelia to the harsh and traditional culture, Cyril proposed to her and promised to raise the child like his own ( his brother ended up finding the guy who hurt her and fatally attacked him though, karma’s a b*tch)

→ Cyril proposes to Orelia and they are betrothed. They decide to relocate to Vesuvia for a new start, but Cyril is drafted in a war. He goes back to Odæsi to fight.

→ Orelia bumps into her Aunt by chance at the Shopping Center while looking for work (at Flooded District). Desdemona takes Orelia in to live at the shop and introduces her to Asra and Muriel (Asra and Muriel were Desdemona’s apprentices. She was also the duo’s caretaker at the time.)

→ Meets her familiar Reu, the Hummingbird at a valley in the outskirts of Vesuvia.

↓ Desdemona passes away 3 years later of hypertension, and Orelia becomes the shopkeeper at age 19.

→ The plague reaches Vesuvia and begins its torrent. At age 20 Orelia begins her apprenticeship under Julian.

↓ At age 21, she contracts the plague and dies. Asra revives her months after discovering her death

Few headcanons about her:

Her first and middle name together means "Golden light". She was born during a sunshower

Multilingual (Fluent in about 3-4 languages, before her memory loss)

Adores scenic views.

She is musically inclined and knows how to play several instruments. Her father taught her how to sing and play the harp and bass flute. However, her favorite instruments are the djembe and the zither.

She always wears her necklace no matter what. It belonged to her late mother (it looks like the Ethiopian Orthodox Cross, google image link here)

She is a fast learner

She hates asking people for favors. Rather than pride, she fears to be burdensome to others.

Super fastidious about hygiene + skincare. She has sensitive skin which is reactive depending on the environment. She uses products such as; Aloe Vera, Oils, Tigerlily Balm, and Shea Butter (Sometimes even the products Nadia gives to her). Always moisturized✨

Sugar and Ice Personality: Stoic upon meeting with a saccharine essence once she warms up to others.

Was not very close with her Half-Aunt, Desdemona, until her adolescence and young adult years.

Knows healing and solar-based magic, as well as divination.

Her magic abilities were “gifted” to her by her Half-Aunt, Desdemona.

Orelia didn’t really want it and was indifferent to magic. However, she began using magic after inheriting the shop. She lessens her use of magic slowly after the end of the game

Can dance well, but is shy about it.

With that in mind, she’s very flexible.

Loves limericks, especially when drunk (She isn’t much of a drinker, so that is a rare sight).

Was inspired to be a plague doctor, in reverence of her late mother.

Valerius is the only member of the Court she feels comfortable with. The rest frightens her.

She wakes up before sunrise without fail, even when staying up late.

Greatly resembles her mother.

After her abduction, she is hypervigilant of her surroundings.

Seldomly smokes weed. If she has the time or is in the mood she’ll roll a joint

Was counted as one of “Vesuvia’s 12 Beauties” in a column of the Vesuvia Daily News. She didn’t care. Was mainly confused since she isn’t Vesuvian

Does end up going back to Elgonia for some time after regaining her memories (with the help of Julian of course!). She reunites with her dad and brothers♥

#fan apprentice #my apprentice #my oc #nix hydra #oc introduction #Orelia #Orelia F. Soranzo #picrew #the arcana #the arcana apprentice #the arcana game #Orelia's memories #Larion Soranzo #desdemona #Nardos of Ezana #Cyril #headcanons

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formandtone · 4 years

Text

Simphiwe Dana: Bamako

Simphiwe Dana released her highly anticipated fifth studio album on 24 April 2020. In terms of anniversaries, it’s a big year for Dana whose albums Kulture Noir and Firebrand were released 10 and 5 years ago respectively .

It is a nod to the city after which it is named, Bamako. Out of all her albums this one is a display of vocal prowess we don’t often have the pleasure of hearing.Dana sounds like she is at her most powerful harnessing various textures and colours of her voice. It seems now more than ever is her time to experiment with range, not only just how high or low her voice can go, but the many ways she can contort it as a means of bringing her lyricism to life. Dana is considered one of this generation's voices of political consciousness. Professor Pumla Gqola’s A Renegade Called Simphiwe has gifted readers interested in the star, or readers interested in how we archive figures of our popular culture a detailed analysis to the meaning of the persona Simphiwe Dana as a cultural and political icon of this generation. But there are very few occasions when we reflect on the power of Dana as a composer.

Bamako is her latest invitation to think through how she uses the aural to celebrate progress in African music. Thinking about this album during Africa month is even more poignant as this opus pretty much celebrates the Pan-African strides music has made in the past 60 years since the ‘west wind’ (to borrow from Miriam Makeba’s song) of independence swept the African continent. African artists have a longstanding tradition of collaboration and musical cross-pollination. Dana is the latest to extend on this with her work with legendary Malian artist, Salif Keita and his band.

This collaboration’s significance is further accented by the upcoming 25th anniversary of Keita’s Folon. This is important to note as one of the songs, “Masibambaneni” is merged with Keita’s iconic single “Africa”. Keita has always been interested in advancing African music and particularly the connections between African artists probably far more than any other artist of his generation. Keita has always been at the cusp of genre bending with his voice belting out notes over the sound that is a combination of electronic and traditional instrumentation. Keita, who is of royal descent traceable to Soundiata Keita who founded the Mandinka Empire in 1240 along with his peers like Youssou N'dour, Mory Kante and Oumou Sangare who hail from various parts of this region musically hold together the remnants of a history that stretched much further than the confinements of the Berlin Conference.

There is an aspect of the album that guides us to perceive Bamako in a specific way. The opening song, the experimentation onomatopoeically with synths, an imitation of the opening bars invites warmth to our ears. There is the sense that Dana as producer wants us to experience the city that inspired this work. Of course there are the instruments which are distinct to Mali however the arrangements in their entirety bring the city to our ears. Dana takes us along on her pilgrimage to one of Africa’s ancient cultures. She also does something I doubt has ever really been successfully executed by an artist so consistently. The vocal and instrumental traditions of two very distinct countries converge on this album so neatly and effortlessly, making this collaboration between these genius artists ever more exciting. Both are interested in listeners experiencing our genres anew, smashing the borders we create by categorizing creativity and unknowingly or knowingly locking artists in labels that don’t quite make sense to musicians interested in the boundlessness of composition.

Genre bending allows us to actually listen to music and what it communicates to our spirit.

A lot of young South Africans are likely to have been introduced to Keita’s work among other West and East African icons like Kadja Nin and Ismael Lo through the “Simunye: We Are One” era of SABC 1 when the channel would stream Channel O.

For those who weren’t born then, there is Bamako.

One of the reasons the album is of interest to me is because of the historical links we listeners can make. This year is a historically important year for South Africa. Many have honoured the release of South Africa’s first black president. However another unprecedented moment took place this year 110 years ago. On 21 September 1910 Mpilo Walter Benson Rubusana (WB Rubusana) won a seat in the Cape Provincial Council of the Union of South Africa, the same year the Union was officially founded. This history comes to mind when Simphiwe sings, “Zemk’ inkomo magwalandini” which borrows the title of Rubusana’s poetry collection- the first by a black writer to ever be published. Born in 1858, a year after the infamous Cattle Killings of pre-colonial Eastern Cape, Rubusana’s decision to even campaign for a seat in the Council was sparked by betrayal. Of this moment public intellectual Pallo Jordan writes:

“Walter Rubusana’s candidacy in the Provincial Council elections of 1910 was correctly considered by all observers as a bold step indeed. Two years previously, in an editorial written by John Tengo Jabavu, the African electors of the Cape had assured the white electorate that they felt no need to put forward African candidates in elections because of their faith in the fairmindedness of their white counterparts. Such faith had been found to be misplaced when the Constitution for the Union of South Africa was drawn up with its notorious ‘colour bar’ clauses. Rubusana’s candidacy was a response to this affront, as well as an act of political self-assertion on the part of the African electorate of the Cape who had too long allowed themselves to live in the shadow of the white liberal political establishment. Rubusana was chosen as the instrument for these purposes because of the prestige he enjoyed within the black community and in recognition of his personal contribution to the political struggles of that community.”

The second is the song “Mkhonto” whose arrangement sounds very similar to igwijo in honor of Solomon Mahlangu, an Umkhonto We Sizwe operative executed by the apartheid regime on 6 April 1979. Some of South Africa’s popular struggle songs were composed by musically trained vocalists. For example the Port Elizabeth born activist, poet, dancer, actor and singer Vuyisile Mini who penned “Ndod’ Emnyama” was a bass singer in the PE Men’s Vocal choir. South Africa has a rich choral culture which is not surprising that amagwijo were composed so easily on the spot. It’s also probably why they are mostly in rondo form given their shortness. They never really digress beyond the couplet, which is simply the main melody and slight change that feels like a verse. “Zabalaza” is another that uses the igwijo model whose effect is closely tied to repetition for the stirring of emotion. The beauty of a vamp is though you sing the same melody, you actually never sing it the same way. Dana achieves this through the dynamics in her voice-how it rises and falls at various points.

As it pertains to the political, Dana expresses disdain for the decline in our state of affairs, where it appears that a people-centred political mandate has been abandoned for looting of resources and abuse of power by those elected in power. Dana’s further reference of Winnie Madikizela-Mandela’s words spoken, “singayisusa nanini' in “Uzokhala”' is an artist reminding people of their power to bring about revolution, while using “Usikhonzile” to imagine humane leadership for which the likes of Rubusana are remembered.

For the most part Dana preoccupies herself with love and heartbreak with some tracks like “Kumnyama” and “Bye Bye Naughty Baby” and taking on the feel of preludes scaffolding the albums overarching theme. Dana has never gone down this path in terms of themes as far as she has with this album. Black South African artists are usually expected to provide political commentary, they are barely expected to bring their humanity in all its nuances to their work. Dana talking so openly about the complexities of love is unexpected from an artist like her. This work sees Dana unburden herself from this weird expectation proving just how very versatile her pen is. Love in Dana’s world traverses various landscapes. There is love in ethical leadership as she shows in “Usikhonzile”. There is also love in closing the door on relationships that aren’t reciprocal. And as demonstrated in “Mr I” there is love in acknowledging the difficulties of leaving, in exhausting all possibilities as an attempt to salvage a relationship. This work looks closely at the debris left in the wake of a broken heart and she acknowledges that sometimes there are no easy answers if at all, and there is no way forward except to retreat and lick wounds.

Dana’s music is heavy laden with meaning. There is never anything final about the subject matter she explores in her music. Listening to this album feels like being asked a series of questions. Dana pushes us to think differently about the world. Where lyrics fail, it is music that fills in the gaps. I particularly enjoy the weightedness in the introductory verse of “Gwegweleza”, a song that addresses the unfair financial burdens placed on single mothers by absent fathers. Because Dana is interested in change, there is the sense that she asks men whether they are going to continue with their deadbeat behavior. For how long are we going to exist in a world where an alarmingly high number of men continue to be irresponsible?

Her deliberate and careful structuring of the music with her legendary co-producer is reflective of an artist who not only aims to entertain, but who wants us to imagine with her a better world, and from there proceed to bring it to existence.

#simphiwe dana #bamako #music #africa

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thesinglesjukebox · 4 years

Video

youtube

SIGALA FEAT. ELLA HENDERSON - WE GOT LOVE

[4.55]

You, on the other hand, got meh...

Will Adams: This is now the fifth Sigala song we've covered that has "love" in the title. Fittingly, his exhaustion of the concept of love has been working in tandem with the exhaustion of blandly uplifting house music. [4]

Iain Mew: Ah, they're back together for a second go round, I thought confidently. Turned out I was thinking of Sigma ft. Ella Henderson and/or Sigala & Ella Eyre. Ah, Sigala have done basically this exact song before with the same message about the ultimate pre-eminence of love, I thought, and this time it was definitely "Came Here for Love." [4]

Joshua Minsoo Kim: Songs like "We Got Love" -- much like everything else from Sigala -- have such a glossy veneer and chipper sound that it's hard to shake the feeling that it wasn't made to soundtrack corny commercials filled with crowds of diverse people smiling and dancing. Everything about it sounds artificial, which is why there needs to be a soaring vocal performance that helps me get past the artifice (or, perhaps more accurately, understand and empathize with it). "We Got Love" doesn't get there because the chorus is centered around obnoxious, synthesized string stabs. Give me more Henderson, less instrumentation that makes me feel reflexively jaded. [3]

Alfred Soto: I remembered Katy B while blasting "We Got Love" in an effort to pin this smoke machine emission to the wall -- Ella Henderson shares some of her nasality. No matter how Katy fought to sound like a normal anonymous person, Henderson beats her with Sigala's help. [5]

Michael Hong: Sigala and Ella Henderson pull it off -- finally, something that sounds as joyous and bouncy as UK dance-pop should be. Ella Henderson delivers a favourable performance that almost makes it possible to ignore the cookie-cutter genericism of the lyrics. Almost. [6]

Thomas Inskeep: Average house track with an equally average singer, wasting a sample from one of the greatest records of all-time, Rhythm Is Rhythm's "Strings of Life." Listen to that instead. [4]

Oliver Maier: It's startling how quickly songs in this particular post-EDM house vein can switch from fun and kinetic to genuinely unpleasant, enough that I feel gullible for enjoying the verses and pre-chorus so much. Lots to like here, including but not limited to: the gooey bass, the horn quacks in the hook, the way Ella Henderson sings that stupid line about mannequins draped in designer, and most of all the surprising "Digital Love" solo near the end. All it takes is the clumsy drop to suck the soul out of the proceedings and make me feel like I'm either at the gym or sifting through Clean Bandit demos. [5]

Brad Shoup: Sigala works up a urgent buoyancy, but Henderson is stuck scrubbing a couple egregious similes for profundity. Why didn't she get to spend more time gliding along the filter house break? [5]

Jacob Sujin Kuppermann: The hurried feel of the beat and the rushed pacing of Henderson's vocal performance (up until a bridge that slows things down half-heartedly before picking the tempo back up) distract from the intended lyrical message of love triumphing through (unspecified) adversity. There's nothing unpleasant here but maybe there should be; it's frictionless dance-pop that doesn't realize that friction is the key to an effective groove. [5]

Scott Mildenhall: In the first paragraph of the main body of Sigala's Wikipedia lies the fact that he possesses a degree in commercial music, a profuse gift of ammunition to all who wish to deem his productions calculated. Sure enough, picking out a house classic and dredging the humanity from Ella Henderson's expansive voice are both things that could be done through code. But answer this, critics: wouldn't a computer be capable of a more coherent treatise? [5]

Katherine St Asaph: For a presumably hand-composed song, this is a fine demonstration -- as fine as any other Sigala song, which is the point really -- of the 10,000 Bowls of Oatmeal problem of procedural generation: "There are so many artifacts being produced that any given one of them will probably start seeming less special. I can easily generate 10,000 bowls of plain oatmeal, with each oat being in a different position and different orientation, and mathematically speaking they will all be completely unique. But the user will likely just see a lot of oatmeal." [4]

[Read, comment and vote on The Singles Jukebox]

#Sigala #EDM #pop #music #music review

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austencello · 5 years

Text

Star City Slayer - Arrow Music Notes 7x13

Stanley returns to bring terror down on the Arrow team, William wants to live with his grandparents to have a normal life, Curtis leaves for a business opportunity, and BlackStar is revealed as Felicity and Oliver’s kid. A lot of events happened and quite a few music themes returned in this episode.

Stan the Fan

While Stanley’s face was not revealed until half-way through the episode, the music revealed his identity right from the beginning sequences with his high distorted electronic theme as he created and sent warning messages of doom to Dinah, Rene, and Diggle. His creepy music was introduced in 7x07 when he attacked/drugged Oliver and his theme firmly established when he killed Brick in the same episode. The dissonant intervals and half-steps give a sense of foreboding and instability while the fast violin scales (as he looks at his murder board) gave a callback to Prometheus, another villain who was a planning psychotic murderer leaving clues to his victims, leading them on a chase.

Stanley’s themes and instruments return twice more throughout the episode: when Dinah enters the basement of the creepy house and sees his murder board (great horror music as they explore the house including the out-of-tune piano) and as he begins to appear unstable with Oliver and family, mad when Oliver realizes he is the Star City Slayer. The music in that scene is less active, holding onto dissonant notes but not filling in a lot of the spaces, letting the stillness lend to a different kind of tension as none of them could move.

When Stanley first reveals himself to Oliver, one of the main prison themes plays: the low electric bass scale (7x03) and electric guitar. Oliver’s recent past has now come back to haunt him, reminding him and the audience that it was not too long ago since he had been in prison hell.

William

William was angry and hurt by being sent away by Oliver and Felicity, got into a fight and expelled from school, and then felt like he wasn’t being heard about how he felt. So he lashed out and contacted his grandparents, who show up to take custody of William. Oliver and Felicity speak to his grandparents, who list all the reasons why they are terrible guardians to parent William, feeling justified and completely in the right why they would get custody. As they list these things off, a version of “I forgot who I was” (1x05) plays, this time in unison piano and guitar harmonics (both instruments for Oliver) with long rests (pauses) in-between every three notes. The harmony is also a bit static underneath with a pedal tone (same note) unlike most versions of this theme. It reflects the deep pain and almost heart-stopping grief and anger Oliver is feeling, who worked so hard to return to his family and felt like everything he did was for William and Felicity, only to be told that he had failed his son. The original theme was played when he first met William “Oliver meets William” (4x08), when he sent William away the first time “Message to William” (4x15), and when he thought he would go to prison in 6x21, saying goodbye to William. It is a theme of family and the sacrifices they would make for each other: William, Thea, Moira, Robert.

The more traditional use of the melody was used twice more in this episode. The first was during William and Oliver’s talk as Oliver is both frustrated and hurt by William’s actions and words and William counters that all he wants is a normal life - which would happen with his grandparents. In some ways, it echoes “Own Worst Enemy” (2x18) when Moira admits that from the moment her children were born, she worried what the world would do to them, never considering what her actions would do to them, becoming her own worst enemy. Both Oliver and Moira would do anything for their children but there was a cost, a hurt, and anger in lies (Thea and Oliver) and a feeling of abandonment (William) even if it was for their protection.

The final time the theme played is when Felicity and Oliver talk about it. Felicity acknowledges that it would break their hearts but they should consider William’s wishes (and this was before the drugging/kidnapping by Stanley). She believes that William is old enough to know what he needs and that their life is fraught with danger. That being safe and normalcy might be just as important as being with his parents who love him. This theme played when he said goodbye to Thea both in the dreamworld - (”Not my life now” 5x08) and real life “Take Good Care of Her” (6x16). Both then and now, Oliver is being asked to let the people of his life go to find the life they want. It is a theme of sacrifice for the ones he loves to be happy, even if that is not with him.

Curtis leaving

Two themes returned for Curtis in his last episode which was a nice tribute and callback to the character. The first was his electronic theme that reminded me of T-spheres “New Tech” (4x03- when Felicity visits Curtis in the lab and the T-spheres are shown for the first time) and it was finally used for them once again as he saved Dinah by cauterizing her throat.

The second theme was “Never walk again/For Better or Worse” (4x10) as he says goodbye to Diggle, Rene and mostly Felicity. Most of the music for Felicity and Curtis throughout the seasons have been fun humorous strings which would not fit the mood of saying goodbye. Instead, they brought back the theme of Felicity not being able to walk because this theme was used during his gift of the biostimulator that helped her walk again “Curtis gift” (4x14). This was the season in their lives when they became friends and not just working together at Palmer Tech. It is fitting that his final goodbye should be with Felicity, echoing the beginning when they became friends and partners and Curtis once more giving her a gift of his part of their start-up.

Blackstar aka Mia Smoak

I mentioned in my 7x08 review that Blackstar was likely to be important because of the very memorable fight theme she was given while fighting in the cage. They don’t give out themes like that to just anyone. This electric guitar theme returned as the flash-forward teams fight: Mia and Connor against Roy, Dinah, William, and Zoe. It lends a danger vibe fitting with the no-care attitude she carries with her as well as her superior fighting capabilities. The important moment, however, is when it was used filling in the spaces during the proclamation to William that Felicity was her mom and therefore his sister. It also seemed to match the bombshell effect it left on William’s face, as well as who Mia is: bold and intense.

Extra Notes:

- So many emotions this episode! Don’t mind me while I cry in a corner over Oliver having to say goodbye to William again.

- This episode made up for the lack of returning themes in last week’s episode in spades.

- The fact that there were good themes from the first half of the season to bring back speaks to the quality of themes this year. Having the flash-forwards (Olicity child!) and the prison arc helped to provide a new soundscape which the series needed to remain fresh with new musical ideas.

@smoakmonster @ah-maa-zing @herskirtsarentthatshort @academyofshipping @almondblossomme @jorahandal @scu11y22 @mel-loves-all @withgraceandlight99 @green-arrows-of-karamel @dmichellewrites

#arrow music notes #arrow 7x13 #oliver queen #william clayton #mia smoak #curtis holt #stanley #star city slayer #blake neely #nathaniel blume

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moonlight-yuyu · 2 years

Note

hii how are you love ?? i’m sure your job will be great no matter what, and good luck for the new job !! <3 oh and happy new years ! may this year be your year (and of glory) + wishing u the best for 2022 because 2021 is tough for some people T_T ily !! ♡

alsooo aw!! omg thank u so much for the astrology ship !!' i love how you ship me with literally the ppl i'm in love 😮‍💨 true love i say ;) and i’d like to request another one if you don’t mind ! the personal ship one sounds soooo cute and i’d looove to know who do u think i’m most compatible with !! here’s a lil (not rlly i’m actually putting a lot, SORRY) ab me ^_^

appearance:

165 cm, asian (but people say i look more western tho my sister say i look like isa sometimes !!)

average sized but very curvy too ;)

see through bangs with wolfcut, not much below my shoulder. my hair’s kinda like IU

brown eyes, dimples on both cheeks (right is more visible), + seonghwa brows + wooyoung lips

beauty mark below my right eye !

round face

i don’t rlly have a style,, i wear what i’m comfortable with but my clothes are REALLY different like i could wear emo stuff yesterday and today i’d wear something so colorful it could hurt your eyes

that’s it !

traits:

she/her, entp / enfp, 7w8, chaotic good, slytherin

i LOVE anime + mangas + books

adhd LOLLLL

adventurous, sucker for new things

used to play basketball and attend ballet class

sucker for late night drives with music

night owl

god complex T_T sadly

BIG social butterfly. i’m friends with everyone !

play lots of instruments but main in bass / guitar

i have a DOG :3

prefers adventurous dates than fancy dates

likes to cook (not good at it)

main 3 love language to people: gift giving, quality time, + act of service

multilingual :>

loves b99 + modern family SOOO much

my favorite musicians (according to spotify) are the neighbourhood, lana del rey, fall out boy, waterparks, + tame impala !! (non kpop)

RLLY nice and caring. like super nice & empathetic & that’s my FLEX <333

ppl say i’m charming + influence ppl easily

outgoing, creative, + original

LOVES pda

very confident AND impulsive

“looks like she could kill you, and would” irl

quick to act, very logical

very humorous but i’m good at reading the room

i lowkey like my personality a lot

i hold grudges :/

i bottle up feelings

i’m sarcastic and TOO dark sometimes

loves attention more than i should

i am MOODY

i have a hard time saying no to people

that’s it !! sorry if it’s too long T_T

groups that i would love to be shipped with !

(1) stray kids (2) ateez (3) p1harmony (5) nct (all) (6) txt

thank u sm before!! >^< once again, good luck for the new job, hope it went so so well, and i’m so sorry if i’m annoyING or is in ur inbox a LOT T_T ily!!🤍🤍🤍

thank you so much for requesting I hope you’ll like it! and take good care of yourself !☀️✨ of course you can here you go hun <33 I hope you’ll like it and feel free to request again 🦋💙 happy new year!!

SKZ

Changbin

Ateez

Wooyoung

P1H

Keeho

NCT 127

Johnny

NCT Dream

Jaemin

WayV

Hendery

TXT

Yeonjun

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littlecafe · 3 years

Text

my suband thoughts pt. 2

(me trying to make this post for the 3rd time now) i realized i wrote like a 10 page dissertation instead and i refuse to post all that so i’m just going to copy over a few and keep the rest in drafts for when i want to reference them later

i will include results and elimination spoilers in this post so if you want to avoid those then don’t read this one...i try to keep things spoiler free but i just. have things to say about the results specific to round 2 :-)

jtbc finally striking down accounts on twitter and instagram for posting suband content....i think tumblr is safe bc this website is dead so i’ll continue posting i guess??? they haven’t done anything to that one youtube that’s been posting all the performance videos too so who knows

should i start with more contestant based random thoughts first

i was scammed by jtbc teaser editor bc they used a clip of jeongho “singing” into the mic in their preview and i waited 2 whole episodes (his team performed last in round 2) for me to find out it was a autotuned mic and a vocoder HELP MEEEE SAKJFDSKF at that point literally i could only laugh

but he plays contrabass? he actually majored in contrabass? or maybe that was his old major, he’s still in school atm since wonsang said they go to the same one but he had educational training on it which is really cool

wait a minute......now that i think about it, that same teaser clip also spoiled the result of yeji winning bc they showed us that she was sitting in the waiting room during eliminations even though they haven’t performed yet (which means we knew her team won AND they already showed us all the matchups before so we also knew who she beat) WHO WAS EDITING THIS LMAO and it wasn’t even a accidental leak like she was sitting in the background, it was literally her reaction as the main focus and everything omg

hwang inkyu hello??? he’s movning’s bassist and he has a combined total of maybe 3 lines of airtime so far i wish he’d speak more bc i was so scared he’d get his ass kicked off the show bc he wouldn’t have been able to make a lasting impression but thank god hwanglin picked him up and seems like he’s going to be moving on with his team in the next round too (good for them the stage was so good i wanted to post it but haven’t yet..)

i used to really like movning’s music but their music direction went into a style i don’t listen to much so i haven’t checked into them recently, tbh i didn’t even know they auditioned until i looked at the full list of contestants later because their stage was cut out and only inkyu made it in

park dawool and hwang hyunjo both have galaxy brains and i would trust them with my life - yea i will not elaborate much because this post is already long even after i shortened it bc i talk too much but hyunjo making entire ppt slides? to present her theories and ideas? yea she’s absolutely ready for everything, for real she’s carrying her teams to victory

leenzy’s 2nd round team was so strong that i thought she got to pick really early (since they showed us all the team formations before airing the actual performances with the behinds for pickings and stuff) but she was actually the 2nd to last pair?? so all that’s left is her > the guy she chose to be her opponent, and then the poor guy that gets to pick from the remaining 6 or so and the final team of the ones unchosen

i was really shocked to find out no one wanted nakyung and ahkyung when i thought they were some of the best :-( i really still can’t tell if the mixing of male and female was a good idea esp since it was so skewed male in the first place ugh in round 2 it seems like the girls are getting shafted???

out of the 6 girls (that can be picked since 3 are frontmen!), 3 of them were not picked up until basically the very end when you don’t really have many choices left...nakyung (guitar), ahkyung (drums), and sujin (vocals)...and they’re all really good?? sujin ended up on the second to last team (basically the last team if we’re being honest since the actual last team is sadly the band of leftovers) and i just don’t understand why they weren’t picked up earlier...i can understand sometimes vocalists can get shafted because the show starts out with a loooot of vocalists so it’s hard to find a place for all of them but guitar? drums? u can definitely pick them...there’s literally only 7 or so drummers to begin with and one has been glued to crackshot the entire time

before the season started i was already terrified that the girls might get shafted because jtbc didn’t want girls auditioning in the first place but it was fine in the first round but now the second round made me think about that again.....it’s worse when they spin the whole “yes!! all girl band!! girl power!!!” when the reality was they weren’t picked up this whole time. annoying.

but this blame has to be shouldered by jtbc bc they wanted to keep it all boys but bc of public reactions (rightfully so) they decided to let female contestants audition but then it turned out that they barely pass any female contestants so it’s still terrible?!! i’ll just write this up that teams are still trying to figure themselves out and work with different people for now....maybe i’m just worried for nothing

not to absolutely curse myself but i think most of my favorites might make it at least to round 4 and i feel like a decent amount will make it to semis so haha /knock on wood but i really hope this stays true...i just need nokdu to continue taking care of hyunsang and make city pop bops together because the judges seem to like that so far

i’m just worried about demian....the judges keep saying he’s improved so much but why do i feel like they will cut him as soon as they need to eliminate more people.....i’m not as worried about round 3 (unless his team falls on their face) but round 4 is where i’m really scared...it’s the last round before the real deal and in season 1 the round 4 eliminations hurt so bad...they cut like 9 people or something

i mean he has his own career as a soloist so he doesn’t need a band like some of the other contestants but i think he really enjoys being in a team with others, honestly i don’t even know if his company would allow for him to be in a side band? even if he were to make it? like mone made it but all their members had solo careers and with the rose and woosung having problems it must be way they just decided to stop after the show unlike the other semis teams purple rain, lucy (they did have a vocalist change since joohyuk stayed with his current band gift), aftermoon (but i guess their dj dropped out i don’t know what happend with dpole??), and of course the winners hoppipolla all continued making music together under the same name

honestly if he makes it past the judges i don’t even know if the public would vote for him, atm his popularity with the public seems nonexistent? lol but to be fair, for most contestants it’s like that, but i do wish he’d become more popular

actually should i be more worried for haeun...she plays classic guitar and usually they don’t like classic leaning instruments but she showed she can sing so i hope she gets to stay

there’s danny too but i think i have given up on him making it until the end, the only way is if he manages to stay on teams that win so he’ll never be up for elimination but i feel like they’re out to get him TT_TT

but i’ve condensed my solid favorites to just demian, yeji, haeun, and jeongho...maybe i’ll pick a 5th eventually but i still like everyone i put in my first post! i really want hyunsang to make it far though bc the vibraphone brings me so much joy so he can be honorary 5th for now

about eliminations though, right now the judges have eliminated less than last season which is odd for jtbc because i feel they keep to their formats almost exactly so now i’m just ?????? if there’s still more people currently....what is going to happen? are they going to make the judges cut more during rounds 3 and 4? or they trying to equalize the semifinals teams since last year some teams had 4 people while others had 5? are they going to do the unthinkable and give us more rounds or semifinal teams? (i wish) anyways kinda scared to see what round 3 eliminations bring now...

the actual eliminations have been mostly as expected for me, still sad but i guess since i sensed it coming it became more a feeling of like “it couldn’t be helped” and also early eliminations hurt less in general because you had less time to get to know the contestants which is why i’d rather they just eliminate now than later if they were going to do it anyways like pls spare me the pain (but this is selfish and contestants probably want to stay as long as possible)

one surprising one was ludi??? he’s a dj but he’s literally done nothing wrong so far i was just wtf??!! when they eliminated him like it felt out of nowhere.....i feel like djs have so much potential on this show because of all the sounds they have access too but i guess the judges aren’t found of edm noise

also demian nation we rise at dawn, when he said “i’m not okay” like- this song really meant a lot to him too i hate thisssss

PLS I JUST WANT HIM TO WIN ONCE SO BADLY but next time, thanks to kfans detective work on the teaser, it looks like junseo (the smol piano child) picked him and jeongho to be on his team (maybe there’s a 4th member too??) and i am putting my faith into that team now pls help my winless boys

the fact that jeongho is winless is almost funny to me because it’s also obvious he’s a judges favorite but i mean that doesn’t translate to wins just i’m pretty sure he’ll make it to the end regardless (like bohoon the vocalist of purple rain lost all 3 /technically all 4/ rounds and still made it), he plays bass and no bassist has ever been eliminated on the show yet so cheers to that

round 4 was special since they switched over to a number format and no band versus band i don’t remember if the team with the top points were immune to elimination or not (or maybe just an unwritten rule bc why the heck would you do that to them after giving them the best score) but the rest of the teams were fair game - which is exactly why this elimination round is the scariest and not good for my heart especially after i had spent weeks watching them sing and have fun..........

ok now to complain about the judges AGAIN: why are the judges thoughts on what they want in a band so damn similar anyway?

i mentioned this in my first post already about how i dislike the judging atmosphere

but now i actually see it...in the numbers...like s1 there was a bit more taste diversity within the judges but now i feel like i’m seeing a lot of 4:1 or 5:0 scores so i went to see the breakdown out of the 15 stages we had so far

5:0 score - 6

4:1 score - 7

3:2 score - 2

compared to s1 (out of 14 only because they edited out one pair of battles completely so we never knew their score...)

5:0 score - 2

4:1 score - 6

3:2 score - 6

looking at that...it makes me feel sad....especially in the early 2 rounds it must be demoralizing to keep getting met with 5:0 loss and to be very honest and in s1 the number of 5:0 did increase in round 3 but that was when more teams started to figure themselves out so it makes sense that some would start pulling ahead

i’m really tired of listening to the judges agreeing with each other all the time, it makes it seem like the vision they have for the band was already set from day 1 unlike in s1 where everyone went in with no expectations because it was a brand new program, zero expectations, zero fans, just some kids wanting to make music and that’s what it should be like....music shouldn’t be limiting like this, the judges seem a little closed minded and now i’m 100% sure they have certain band styles in mind (i don’t know if it’s the judges only or if it’s jtbc producers too that’s causing this)

and i see other ifans saying this exact same thing on twitter now too so it’s not just me that picked up on this so safe to say we can’t all be extremely sensitive right

like the contradictory comments -

dongheon’s 2nd round team was told their original song was great and lovely but they brought nothing new to the table and that it was too standard, “just like any other rock/rock ballad song” when i thought the leenzy’s team (the one they went up against) also had a pretty standard? pop rock song? absolutely nothing wrong with it either, even the judges said that the song was not complicated at all but complimented them on their “band feel” so i guess as long as they enjoyed the vibe of the team and it suited the type of band style they have in mind it’s suddenly fine to make a simple song

i’m not saying her song was worse than his (i enjoyed both and seeing original songs performed make me very happy), i’m just a little confused at the judges comments for them both especially when one performed after the other, you really don’t see the bias in your words?

dawool was told his song composition in the first stage was a little too...nuanced(?) and that they wish he could just keep thing simpler even though he thought he toned down already and kept things simple, so round 2 he decided to just work with someone that makes mainstream music (davii) to fulfil what the judges want

seulong’s 2nd round team decided to go heavier on the instrumental side because they figured they didn’t want to go head to head with one of the favorite vocalists of the show (sorry yeji, ur my queen but ur also the judges’ queen too :---( ) but got criticized for a similar reason...yoo heeyeol saying that their composition was “fun for the brain” but if he were thinking about the general public he doesn’t think they would like this type of music, literally saying that the general public do not have the music knowledge or brain capacity to understand all the skill based playing going on musically and so won’t enjoy it because it wouldn’t appeal to their hearts................(ok sure call us dumb it’s true but won’t appeal to our hearts? music can sound intricate and fun? we can enjoy some funky strings guitar riffs without actually knowing all the details ya know)

they also kept telling them (seulong’s team) “oh i loved this” “i wish there was a band like this” “very cool” and gave them no votes??? if you wish a band like this exist then why? would? you? not? vote? for them??? like i can’t tell if those were consolation comments or what

man judges rant ended up being long asf and i’m usually not affected by them and what they say but i was already feeling an odd vibe from the beginning and now seeing 5:0 after 5:0 after 5:0 really did it for me

overall, a not very fun post to read through it’s just more ranting than anything....i’m dying for a big pop off performance so i can successfully gauge the public opinion so far but i’ll refrain from posting my guess until at least the end of round 3, also i believe the team vibe usually outweighs solo popularity but we don’t know any teams yet (at least i can’t guess anyone yet like i could in s1) so we will still have to see!!

i’m pretty sure only i would look and read through these long ass posts of mine lol but if anyone makes it this far i hope you enjoy my crazy ramblings and see you in my suband thoughts pt.3

#me: copy over a few / the read more in question: still 50 pages long WHAT AM I DOING WRONG #i will just blame the pictures to elongating this post sajkhdsf #abbreviating so this post hopefully won't be in anyone's tags i hate tumblr tagging system #this is literally just me ranting about the judges for half of the post #i'm usually indifferent towards judging panel but compared to s1 this year's is soooo off lmao i hate it actually #tea talks

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pipcrr · 7 years

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🌈 WELCOME new seasiders !! --- i genuinely cannot believe seaside is back and kicking it and i couldn’t be happier. i am nat, admin 2 of 2, and the annoying one with the harry styles mascot on the main even though it started as a joke that we were both gonna use harru rip. anyways, i’m not sure how succinct this is going to be but LIKE THIS to plot and i’ll slide on over regardless!

piper renetti comes from a very affluent family who lived in london’s notting hill, a wealthy district on the west side of the city. she’s an only child and was properly spoilt materially? but not in the silver spoon i expect the world handed to me sort of way. her parents just genuinely... didn’t have the time to do much by way of raising so the housekeepers and such instilled p humble morals in the renetti child

it became clear from a young age that piper (she prefers pip, ok) was musically gifted. she has perfect pitch and a knack for picking up instruments that became discovered as she tried to self-teach herself on the grand piano in their front parlor at the tender age of three.

perhaps incorrectly, her parents presumed their bright, spirited young daughter might excel specifically in classical music. it might have matched with her talents and her initial interests but it did NOT mesh well with her personality.

pip is a high energy sprite of a thing and always has been. coming from wealth, she’s socially educated and tends to adapt herself to different situations. despite dressing in expensive clothes (though she tends towards odd fashion brands to fit her Look) and carrying herself with pristine posture, she’s actually very easy to get along with, low maintenance, you know???

she stumbled into dj-ing by accident. musically inclined, she liked to explore different genres of music to listen to and a boy at school had an obsession with techno. she took note of his neon headphones and the reverb of bass pouring out and took an interest. she boldly introduced herself, demanded they be friends, and has been hooked on the intoxicating beat ever since.

BASICALLY, pip moved to brighton when she was 11 along with her parents as her father’s job was relocated. she moved out of home at 18 to obtain a sense of independence from her parents smothering, limited vision of her as classical musician. she wanted to unleash her wild talents on the dj world and is actually even more gifted at it than at any other instrument

she’s studying music/music technology at a nearby university just so she can have her uni qualifications in case she’s not the Next Big Thing

she’s very much a people person and she’s very happy with where she’s at in life. despite being at a different place than she’s accustomed to, financially, she’s doing what she’s passionate about and feels most in her element when surrounded by music. her parents still give her support but it’s significantly less than if she’d followed their plans/ was still at home

pip identifies as poly and learned as much through the romantic example of her bff’s mothers ( that hadley ). she’s been in both a poly relationship as well as monogamous relationships, though, and found that she preferred the former after a p nasty breakup she’s also pan so gender generally ain’t important

she’s passionate, energetic, & would prefer to go through life with everyone loving her. she’s kind of needy for approval and affection (v tactile pls cuddle her) but tends to be slower with her romantic advances since a few recent losses have her a bit hesitant

basically once she’s let you in, her claws are gonna sink in so she doesn’t lose anyone else

she laughs in the face of the disappearances like ??? vampires? sign her tf up she wants her neck bit (nsfw?) but it’s more of a denial tool than it is genuine amusement. like if anyone she loves (Which is potentially a lot of u) disappears, she’s not going to deny the rumors but for now she’s blissfully ignoring them

incredibly ambitious, she wants to make it big on the edm scene and hopes to leave brighton behind for the bright lights of fame!

i feel like i hardcore rambled in this post but check out her STATS page and ABOUT in order to get a better grip on little details about pip! LIKE THIS or IM ME to plot and i will be hitting a ton of you up as soon as i possibly can after unwinding for a spell!

#seaintros #( * ! nat chats. )#and i still have one more to do rip

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ask-de-writer · 7 years

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Some more TEA LEAVINGS! We are mining our archives to find as many of the old ones as we can. These will be added to the main TEA LEAVINGS! post.

ask-de-writer asked: Uncle: I thank you for read of A Day in the Antique Trade. I have made you reader appreciation post for do so. Sorry I spring my know of Tia and Luna on you. They was good filly. Only mess up a little. Like that Edict of Banishment on me. A few other tiny thing like Nightmare Wars but learn real well and now make their old foster dad proud!

Thomas the writer: well like my father always tell me, kids will be kids, even thought that one time when nova almost sent the entire school building to the other realm once. and trust me it took me every ounce of energy to bring the entire school back to the real world. but still I’m still surprise that Tia and Luna are your daughters and hoping that she would have told me all about this sooner.

Celestia: do we have to argue about this tommy wommy

Thomas the writer: would you please stop calling me that, it still silly

Celestia: but I like calling you my tommy wommy, your special to me * she hug him*

Thomas the writer:…………….. sigh and your my special…………… my special

Celestia: oh come on now Thomas you can still call me that special name

Thomas the writer:……………. sigh (I so gonna hit my head for this) your my specialpony princess Tia

Celestia: oh you know how to make me happy, now I be right back, I got a special gift for you

Thomas the writer: *Thomas grab a paper bag and barf right in there, then throw the bag away* now I know the reason I broke up with her, no wait the other reason was of my mother is the demon queen, but still it nice to be with Tia again, she still the same pony that I knew a long time ago and since she is de-writer daughter, at least I will try to be nice

Celestia: here is your gift Thomas

Thomas the writer:…………….. what is it?

Celestia: it a Christmas sweater and it got a good santa face on it

Thomas the writer: but Tia it the middle of November

Celestia: I know Thomas, but I can’t help it, so I want you to try it on

Thomas the writer:……………….. (help me. Again)

~~ ~~ ~~ ~~

ask-de-writer asked: Uncle: For question I have, you answer please. You like See Story part 1, I saw. Did you read the rest of tale or just part one? Need know for reader post. Thanks, De Writer. PS Have found Atlantis Sea Weed Tea! not bad, but a bit salty! Have send package with Dashie for your collection.

Dashie: so dad, what you think about the sea weed tea

Thomas the writer: a little salty like de-writer said, but taste pretty good. oh and to answer your question de-writer, I was able to read the see story part one when I saw it. I know I only read part one for sure. But I do enjoy reading it thought, as always brilliant work.

The door bell rang

Thomas the writer: dashie, can you see who that at the door

dashie: sure thing dad * she went to the door and open to see who it was, then she saw a giant squid. she stay for a moment and then close the door and went back to her dad*

Thomas the writer: so who was it dashie

dashie: ……………….. trust me dad, you wouldn’t believe me if I told you

~~ ~~ ~~ ~~

ask-de-writer asked: Uncle: Have give reader appreciation post for read of Blindsided. Much thanks. Also have two tip for you. First is NEVER use Yangtze river water to make tea. It worse than mud! And One Other Thing: Remote control T-82 is NOT amphibious! Best not ask how I find out!

Thomas the writer: it’s no problem de-writer and I will keep in mind on those two advice as well.

dashie: hey da, how come de-writer always have a lot of those remote control T-82 and thanks whenever he goes get certain teas and stuff

Thomas the writer: well dashie, that a mystery that will never be solved

Jarred Tech: hey Thomas, I have a order of top secret explosive that I need to deliver for someone and he told me you know him.

Thomas the writer: Jarred, you been selling him some of those stuff

Jarred Tech: hey, somebody got to make living am I right

dashie: hay dad, how this guy?

Thomas the writer: he just a friend dashie, tech, just bring the stuff somewhere else and go

Jarred Tech: sure thing, I just put it on your bill

~~ ~~ ~~ ~~

ask-de-writer asked: Uncle: Most sorry that you been ill. I receive your reply to my note. Make happy that you have read Dragon’s Plea. I have send you three packages. One have some tea from central Tibet. One have bad temper old hen not lay eggs for long time. Make own air holes with beak. Handle with care and make better soup. Last package contain remote control override device for Dashie playhouse T-82.

Thomas the writer: thanks for the tea and the soup, but the best gift for last is the remote control to override dashie T-82. *he used the control and take over dashie T-82*

Dashie: hey, why i having a hard time controling my T-82 ?

Thomas the writer: ………………………. wasn’t me

~~ ~~ ~~ ~~

ask-de-writer asked: Uncle: I have thank you for read of Caramel Treat’s Lunch! which I write! I have send you gift of antic teapot collection that I stumble across in tomb of Emperor Hang He Hei! Had very short reign. One of the pots here might be why. Wash most careful or sell for money to buy tea.

Thomas the writer: *he examing the tea pot* wow this tea pot from emperor hang he hei is amazing, it got to be at least 2,000 year old. i would used it for serving tea, but at this condition, it would be dangerous for me even used it. all i have to do now is put it in the safe box and place it in the closet so i can bring figure it out what to do with it.

he place the ancient tea pot in the safe box and carry it on his back to his study room. just before he reach his study room, his daughter dashie stop and call his name, almost made him drop the box, but lucky for him to caught it with his hooves before it fell to the ground.

Thomas the writer: dashie, i thought i say no yelling when you call someone name out

Dashie: sorry dad, i thought i want to let you know that i join the music class in school today

Thomas the writer: that nice to hear dashie, what kind of instrument are you playing ?

Dashie: *went back to her room and grab a turn table and a bass in front of her* time to drop the bass

she turn on the bass and large music roam around the apartment, everything around the area that was nail to the ground started falling and several glass item break, when Thomas was shaking to the bass, he accidently drop the box in his hooves and it fell to the ground. Thomas walk to dashie and unplug the bass.

Dashie: hey come on dad, you kill the wubb

Thomas the writer: dashie i have three thing to say before your grounded, one that music was too loud, but cool, two thanks to that music it broke a 2,000 year old tea pot

Dashie: and what number three

Thomas the writer: and number three……………. help me clean up all the glass on the floor

Dashie: i would but

Thomas the writer: help me now and i forget about the grounding

Dashie: deal

~~ ~~ ~~ ~~

ask-de-writer asked: Uncle: Have add arrows to ancient wisdoms. Anypony asking about me, my shop not were you tell them, OK? Say it move from place to place like Howels moving castle. Also, not show them your tea. Is for you to have.

Thomas the writer: sure thing de-writer, I mention next time when I work on the next wisdom, I was doing my best to write it as your shop, is very secretive and only a few know about it. but I will fix it around and make it more cooler and I promise not to mention about the tea you gave me

~~ ~~ ~~ ~~

ask-de-writer asked: Uncle: I have post latest Ancient Wisdom. I plan add magic arrows to send reader to other part story, so find first piece or find second part. I also send you new package of tea. You like it I am sure. Not say where this tea come from but will say news stories full of lies!

Thomas the writer: thanks for the tea de-writer, but kinda strange though of what you say for this tea, but I going to try it anyway

Thomas gone to the kitchen and start up the fire and place a teapot with water in it, waited for several minute for the teapot to whistle, Thomas pull the teapot and pour the hot water in the cup, where the leaves are. waited for a few minute to cool down, he started to drink the tea. after a few sip from, Thomas mind gone to a shock and was unconscious. inside his mind, his see some kind of vision, in that vision, was showing himself and his father, coming out from a portal and reach to the real world. his father look at his son and wanted check up with him.

Edison: son are you feeling alright now

Thomas the writer: feeling alright ? of course I’m not feeling alright, you could have let me stay there dad, I could have done at least something, now Celestia is alone now, facing her little sister, which she is now a nightmare moon, I could have done something

Edison: I know you would have son, but you was injured and no condition to fight.

Thomas the writer: so I used my other form to fight nightmare moon

Edison: oh! you willing to used the legend horsemen power to defeat nightmare moon, not knowing, once you defeat her, you have to steal the soul, not only nightmare moon, but Luna included

Thomas the writer: …………………….

Edison: son, there was a wise man, once say these words, to someone he care about, “with great powers, come with great responsibility” you have all the powers in the world, but you have to know when to used, or not. if you used them the wrong place or the wrong time, a lot of innocence lives would be lost and what celestia would think of you then

Thomas the writer:………………..

Edison: Thomas, I love you to much to lose you and I don’t want to lose you the same way like I did with your sister, who now living with your demonic mother. someday you will understand

Thomas the writer: ok father, will I be able to see celestia again ?

Edison: in do time Thomas, someday you find the way back and find the courage to ask for her forgiveness.

before he can hear more, he felt a shake out of nowhere, everything around him, gone bright light and next thing you notice, Thomas started to wake up. he look around and see his daughter dashie was next to him worried

dashie: daddy, what happened to you, I see you on the floor and you wasn’t moving

Thomas the writer: I was, I guess I must the felt tired and fallen asleep, I guess I should head for bed then

dashie: are you sure your ok dad ?

Thomas the writer: yeah I’m, just remember something from my past that I forgot

~~ ~~ ~~ ~~

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