Chrisean Rock Astrology Forecast As Of May 11, 2024

With Mother's Day tomorrow and Chrisean Rock being a new mom, let's just do an updated astrology reading for her by checking her birth chart.
As we know, Chrisean was born in Baltimore and is known for her appearance on Baddies with Natalie Nunn and her own show she had with Blueface.
We know that she is a Pisces which is her sun sign/zodiac sign. She has a Cancer Moon which rules your emotions and emotional state.
Uranus is currently sextile Chrisean Rock's sun which means that she will be openly showing unpredictability and will likely be shocking people and even herself.
Uranus is in her 12th house which is the house of the unknown and blind spots as well. This can mean that she will have breakthroughs and insights. Could even result in premonitions and informative dream states.
Pluto is the planet known for exposing and causing change and this planet is currently opposing her North Node which shows that there will be a gradual process in her doing what she is supposed to be doing and going in the right direction. Pluto isn't making any connections with her personal planets yet, so she isn't expected to be going through anything too major right now.
Jupiter sextile her sun is giving her the expanding energy for her sports endeavor. Her Aries Mars will always see her through naturally though.
Let's go forward to the following month, June on this day to see what she may be experiencing.
Jupiter is the ruler of her 7th and 10th house and on June 11, 2024, she will have Jupiter squaring her Venus and Mercury which means that there can be issues with points getting across or communication issues between her and family or her and Blueface. She is likely to be intuitive around this time with Jupiter making a trine to her natal Neptune.
Since Jupiter will be squaring her Mercury and Venus, let's put focus on the fact that Mercury rules her ascendant and 4th house which is why there can be a link with family or her lover if it isn't about her mindset. Virgo being in her 4th house though makes it more tangible. Venus rules her 12th house and 5th house of romance and children. Basically this whole Jupiter aspect transit could be connected to her family. Let's see what happens.
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Chrisean Rock Numerology Report

This Numerology report will be for Chrisean Rock who was born in Baltimore Maryland and who is a star based on her connection to Blueface and Natalie Nunn's Baddies show on Zeus Network.
Chrisean's Numerology Report will be a decoding all from her name, not her birthday. Her birthday is one thing that can't ever change in her lifetime so that energy is fixed and general.
Chrisean's full name is "Chrisean Eugenia Malone". I will first decode her first name separately as it's the most significant energy and then I will do a full name decode as well.
Let's start breaking down her name.
C - This is the third letter of the alphabet which gives it the energy of 3 and 3 energy could be very social or creative. This can also give someone a child like impression or there could be something about them that is very jolly or it reminds you of a child sometimes. This can make them come off approachable at times as well. Names that start with this letter, it makes three and the letter C the most significant energy. This shows how Chrisean and anyone else who has a name that starts with this letter approaches the world and people around them in a very curious manner. These people wake up every day waiting to explore and seeing what they can learn or find out for that day.
H - H is connected to energy that has pressure but this is also connected to ambition as well. This could be why Chrisean has a lot of ambition and the capability of mastering something in her lifetime which also fits well with the number 9 which is connected to her R and I letters.
R - This letter vibrates at the number 9 even though it is the 18th letter and this gives someone the capability of mastering themselves or mastering something physical or amazing. This also gives them strong, ambitious energy as well and we can see that she has a very fit body and into sports, plus she has an Aries Mars.
I - This is the 9th letter of the alphabet which makes someone very adventurous by nature and they have the capability of being quick to take action. This is very spontaneous energy so when people have this letter in their name, they can definitely shock people a lot. This also contributes to someone being a traveler of some sort so people with this letter in their name, especially more than once can indicate someone that is likely going to be taking trips or flying planes. They basically will get out of their hometown even if they return to it, but they will know what another country and city looks like for sure.
S - Being the 19th letter of the alphabet gives this letter the energy of one, but it is the energy of empowerment right from within and this could be someone that wants to do their own thing as well. These people could be impulsive or they know how to take initiative, especially when something has really motivated them or sparked their interests.
E - This is the 5th letter of the alphabet which gives someone the energy of creativity and this can also make someone visually appealing or they could have some type of creative skill. This also contributes to the energy of complexity, but she only has this once so it's not too complex, at least not from this letter. This letter gives her a fighting power or a fighting spirit so she is capable of utilizing her natural strength to overcome difficulty.
A - This is the first letter of the alphabet which contributes to independence and action.
N - This is the 14th letter of the alphabet which vibrates at the energy 5 just like E, but a matured version. This adds onto her capability of overcoming difficulty and also being creative or making something tangible from her creativity.
Looking into her full name, she has a Destiny Number 1, soul urge 5, and personality #5.
5 is the number connected to romance, children, war, and unpredictability which is definitely fitting as she always shocked people with her actions and how combative she is, but she is pretty aware as well.
Based on her #1 Destiny number, She is meant to come into her personal power and experience some ease, but this 1 energy may also contribute to her child-like actions as well. She is wise, although the 1 energy is connected to new spirit type of energy. The fact that she has this matches with her strong Aries Mars influence. The 1 destiny number also is why she takes things personal to a fault.
Her having a 5 soul urge gives her natural fighting powespirit. This also connects to her romantic nature and how she always wanted Blueface to please her or she put their romantic life on blast, but not for attention, just from a natural place.
If you liked this report, you can support me at $astroneek
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Sven Tasnadi - Arctic Drama, Pt.1 (Safe Connections Remix) / Key Dm, BPM 126, 5:35, MP3 13.43 Mb, AIFF 59.15 Mb
Sven Tasnadi - Arctic Drama, Pt.1 / Key Dm, BPM 125, 5:38, MP3 13.54 Mb, AIFF 59.63 Mb
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DOWNLOAD - progonlymusic com

Although it was a happy ending, I don't think I'll get over my post drama depression any time soon. I legit been crying for the past 30 mins just listening to that one song on Hae-In's mp3 player on repeat. Really loved the drama 10/10. Time to watch the 2 special episodes. That's all lol
If anyone want the song: https://youtu.be/_6C5-abCx6g?feature=shared

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Tonino - Drama / Key Abm, BPM 130, 5:16, MP3 12.64 Mb, AIFF 55.70 Mb
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DOWNLOAD - progonlymusic com

I need to cut the start of a song for a ringtone. I used to do that with the basic editor that came with windows but it does not exist anyone
Any idea of an easy free program which I can use to cut the song.
I have heard of audacity drama and tried to find a program myself but all of them were multimixing with strange files. I just want something to cut my mp3 file

Leads knowing each other as children is a trope as common (or even more?) as a subway commercial in a Kdrama. So it's understandable why it's also one of the least favourite tropes for many people. Park Ji Eun is also guilty of using this tropes in nearly every single one of her dramas, in many cases where's there's no need to (Seriously why did KSH character need that trope in producers? Did CLOY really need that photo on a bridge to show their love?). However i think the point in QoT is an entirely different interpretation of that trope. In fact, I think it rejects the destiny trope. Yes, HW saves her as a child. But as far we were shown neither of them knew that, and it did not having any bearing on their relationship. Yes, they met in High school, but again neither of them knew that when they married, and it didn't influence any of their decisions, (HI still refused to withdraw divorce, it was only surgery that changed her mind). The mp3 did nothing to revive her memories. Eunsungs lie did not influence her either.
The whole point of the childhood trope in QoT is to show that no matter how "destined" you are, love cannot survive if you don't work on it. Even the most "fated" loves can still be torn apart, forgotten, misunderstood if you don't communicate. So in effect QoT I believe rejects the childhood connection trope and I wish more people saw that.

[Thumbnail🪞]
Welcome back to this write-up about a complicated artist's complicated book.
Don't be absurd, of course you have time!
Part 1 Part 2
Now that we've established what the book is about, let's take a look at The Asylum for Wayward Victorian Girls' rich publication and re-publication history. I promise, it's more scandalous than it sounds.

“HER SPEECH IS NOTHING, YET THE UNSHAPÈD USE OF IT DOTH MOVE THE HEARERS TO COLLECTION” (HORATIO, ACT IV SCENE 5)

As I've mentioned in the last installment, TAFWVG has been released multiple times, in multiple editions – four of them, to be precise. And I wish I was exaggerating when I say that three of those four releases have been veritable masterclasses in testing your audience's loyalty. In case you're wondering: the secret is to alter your source material in strange and unpredictable ways, while also constantly messing up on the customer service front.
Most of this installment condenses and combines these two excellent write-ups, which contain most of the receipts: TAFWVG: A History / The Bloody Crumpets: An Inconsistent History. 🔍 Anything that isn't sourced with links is in there. While there were only minor differences between the first and second pressings, the third and fourth editions came with significant alterations to the structure of the book and the story itself, notably the cast of fictional Asylum inmates... a handful of which had, in fact, been obvious avatars of EA's IRL friends and collaborators.
It turns out there are good reasons why most fiction authors don't do real-life inserts so overtly – but in EA's case, it did make sense, and was warmly embraced by fans upon release. When the book first came out, some of these people had been familiar to the fanbase for years, frequently appearing in candid pictures on EA's blog and leaving comments on the forum; some were also involved in her music and show. Recognizing that one character's name was a pun on So-and-So's username was a nice Easter egg for veteran fans, and newcomers got to learn about fandom lore; it brought the story to life and the community closer.
One side character, for instance, was named after EA's best friend from Chicago, whom many fans had had direct interactions with: she co-ran EA's online stores during the Enchant years, and acted as admin, main moderator and EA-liaison of the forum throughout its near-decade of existence.
One crazy girl who thinks she's a pirate is 100% OC... but her description and illustrations 🪞 were explicitly modeled after pictures of Bloody Crumpet Vecona (one of EA's back-up performers), who became the first stand-in pirate character 📺 in the live show. Captain Vecona was also celebrated as the “Asylum Seamstress” 🪞🔍: most of the iconic early Opheliac costumes were her design. She had a following of her own, even prior to touring with EA, for her professional costuming work and her collaborations with German photographer Angst-im-Wald. (Shitty archive link, sorry - most of those badass photoshoots seem to have been lost to time. But if you were a European goth in the mid-2000s, search your old hard drives: I promise you, you've downloaded some of those pictures.)
Inmate “Veronica”, a cabaret girl diagnosed as a nymphomaniac, was a doppelgänger of her namesake, burlesque dancer Veronica Varlow 🪞 – the ride-or-die Crumpet, whom EA often lovingly called her “husband”, saying they had been lovers in a previous lifetime. Veronica was part of every single tour post-Opheliac release and developed a solid fanbase of her own, which she maintains to this day.
Even the brave and well-mannered talking rats (oh yeah, there's talking rats in the Asylum story) were named after EA's real-life pet rodents, who had featured in glamorous photoshoots. (Slight NSFW for sideboob.)
You get the general gimmick by now: EA turns her personal life into art, which she turns into a fictional world, which she then prompts the audience to inhabit with her. The whole Asylum concept was essentially an open invitation to self-insert parasocial fanfic: “Here's this very personal world that I've created, in which I, the artist, exist as a fictional persona, alongside all these quirky inmate characters that you've seen in my stage show, and who are avatars my real-life friends. Come on in, make it your home, and populate it with your own zany Victorian alter egos.”
And it worked, to an extent: like I've said, most fans were on board before they'd even read the book, and the Asylum became “real” in that sense.
But it can get a bit disorienting to find your place in a fantasy world, when said world keeps changing based on the author's shifting feelings about her story, her target audience, and her friends... plus, you'd love to read the book, but the darn thing still hasn't shipped.

ROUNDS 1 & 2: THE HARDCOVERS

\A MINOR ADJUSTMENT\
TAFWVG was first teased in spoken-word bonus tracks 🎤 on a 2007 EP. In spring 2008, EA started reading excerpts from her upcoming book at live shows. Early excerpts from the Asylum narrative featured a character named “Jo Hee” 📺; in the story, she is a cellist from “the Orient” (love that Victorian geography) and Emily's childhood confidante.
In real life, Lady Jo Hee, Center of Happiness, was the OG Bloody Crumpet. 📺 She had been there since from the very first Opheliac show in Chicago in 2006, accompanying EA on the electric cello – the only instrumentalist ever featured in the line-up besides EA herself.
In August 2008, Alternative Magazine ran a feature about the upcoming book.🔍, teasing some of its pages. Fans were quick to spot a very sisterly picture of EA and Jo Hee 🪞, borrowed from a fan-favorite photoshoot of the two. (An aside: this specific picture also became famous in the fandom for another reason. At some point, someone made an edit replacing Jo Hee with Amy Lee from Evanescence; for a while, it kept making the rounds in alt/goth internet circuits, casual onlookers kept getting excited about it, and Plague Rats kept having to step in and disappoint them.)
Anyway. For reasons undisclosed by either party, Jo Hee quietly left the Crumpets after that tour, never to be mentioned again.
By the time the book came out in late 2009, the character of “Jo Hee” had been renamed “Sachiko”. (I guess it didn't matter whether the one non-white character in the story was meant to be Korean or Japanese.) Jo Hee's face had been edited out of the (still clearly recognizable) photograph, and eerily replaced with Nondescript_Asian_Woman_023.jpg from Shutterstock.🪞
You'd think that the switcheroo would have raised more eyebrows, or at least some awkward chuckles, among fans of an artist whose better-known lyrics include “If I Photoshop you out of every picture, I could / Go quietly, quiet - but would that do any good?”. Yet to my knowledge, it did not. Possibly because, by the time people got around to reading the book, some fans had been waiting for their copy longer than Jo Hee had been a Crumpet.
A ROCKY RELEASE
Although the book seemed just about ready for publication at the time of those 2008 readings, the initial release was delayed by technical difficulties (some data had been lost during the editing process). And then delayed some more when, a year later, EA cancelled the US leg of a tour and slammed the door on Trisol, accusing the label owner of exploitation and embezzlement (he was allegedly selling fake tickets to her shows on a phony website). In August 2009, she signed over to The End Records, and we were back in business, baby!
Not only was The Book on its way to the presses, but the long-awaited release would coincide with a “Deluxe” re-issue of Opheliac, with new cover art and bonus tracks. For $100, you could pre-order the “Ultimate Book/Album Collection”, which included the revamped album, the book, a t-shirt, a tote bag, a recipe booklet and some bonus digital downloads, to be shipped in October. Or, for a more up-close-and-personal experience, you could purchase a VIP bundle for her upcoming shows in the fall: $50 plus ticket price would get you the book, a swag bag, and a meet-and-greet. (VIP tickets were capped at 20 slots per show; from what I gather, informal interactions with fans at the merch table were becoming overwhelming on previous tours. Again: fast-growing audience.)
Alas, due to printing issues this time, the making and shipping were soon pushed back to December. VIP ticket-holders were assured, at the start of the tour, that their copies would be shipped first as soon as the books were printed, with handwritten dedications from EA. Purchasers of the “Book/Album” bundle would receive theirs shortly thereafter. This seemed like a reasonable trade-off for a minor delay, and no one was too upset. (Well, some might have been, but at that juncture in Asylum history – for reasons that will become apparent in a later installment, when we get to EA's altercations with her fans – I guess they knew better than to get mouthy about it.)
The bundles came first... and in many cases, “bundle” was a generous term, because they arrived incomplete. When the t-shirt or tote bag weren't missing, they were printed the wrong colors. Many digital download codes had to be requested via email. The book itself was beautiful, but poorly bound, typo-ridden, and missing entire pages. (This was largely fixed in the second hardcover release.)
As far as I know, everyone who complained to the distributor got their money back – and I imagine it was a nice surprise when some items showed up, inexplicably, months after they had already been refunded. But it was still a bit of a “sad trombone” moment for many loyal fans, who had to request a refund on the Ultimate Super-Cool Preorder Exclusive Bundle to purchase the book and album separately.
As for the VIP package books, those didn't start shipping until late 2010 – a whole year after the official book release, months after less invested fans had already received their non-preordered copies. Worse: none of the books were signed, much less lovingly adorned with a personalized handwritten note as EA had promised. (And had tweeted about doing during the year-long shipping delay!) After enough fans meekly expressed their intense disappointment, EA's BFF-forum-admin mailed out signed bookplates that people could stick in their book in lieu of a personalized autograph. No real explanation was given. As far as I know, this particular let-down didn't cause a mass exodus of disappointed fans – but, in the midst of other goings-on, it certainly contributed to eroding many fans' trust in EA's word.
EA TAKES ON HOLLYWOOD
The 2011 release of the largely-identical second edition was better planned and overall uneventful, which gives me time to catch you up on contemporaneous events – like the reason EA ditched the Opheliac red and went platinum blonde. 🪞
Around that time, EA got herself a supporting role and a solo number 🎵📺 in The Devil's Carnival, Darren Lynn Bousman's psychocircus-themed movie musical. (If you're scrambling to place the name: depending on what kind of deviant you are, DLB is either the guy who directed half of the Saw movies or the guy who directed Repo! The Genetic Opera.)
If you've clicked the last link: see the bad boy greaser she's dancing with at the end of the song? That's the titular “Scorpion”, played by Marc Senter, and they were totally hitting on each other while shooting this. 📝🪞 They've been an item for twelve years now, in what appears to be a loving and mutually supportive relationship, and they seem besotted with each other. That's only marginally relevant to the story, but it's nice to know that at least one nice thing worked out in all this mess.
Back to 2011. Through her friendship with DLB and the Devil's Carnival cast (a motley crew of top-shelf B-listers 🔍 that included Bill Moseley, Paul Sorvino, the chick from Spy Kids, and the clown from Slipknot), EA also made a bunch of new industry connexions. That's how she came to decide that TAFWVG was meant to be more than a book, more than a live show: it had to become... a musical. Full company, full orchestra, big names, the works. Her 2012 album, Fight Like a Girl, was written and recorded with this project in mind, with most songs narrating events from the book and EA singing as various characters – which turns love duets into finger food for Dr. Freud. 🎵
Shortly before the album release, EA announced on Twitter that the Asylum Musical was scheduled to debut in the London West End, under the direction of Bousman, in 2014. "Casting calls to be announced soon!" (They were not.)

ROUND 3: THE AUDIOBOOK

2014 came, and brought... another TAFWG re-release announcement.
But wait – this time, it was going to be an audiobook! EA had been teasing one since before the original release, so people were quite excited. (It also sounded like a more achievable goal for the calendar year than a West End debut.) In early 2014, recording was well on its way, and the 6-CD boxset was due to ship in May.
PLEASE STAND BY, YOUR ASYLUM WILL BE PROCESSED SHORTLY
First, EA discovered “a new microphone ... that, upon testing, produced a recording of far greater beauty and expressive quality”, which naturally meant the whole thing had to be re-recorded. Two month's delay. No biggie. Our girl is a perfectionist.
But our girl also had to write, coordinate and rehearse her upcoming “Asylum Experience” – an afternoon-long interactive theater event, directed by Darren Lynn Bousman, which would be performed at five dates of the Vans Warped Tour in August. (It's not exactly the West End, but it's a start! 🔍) And then she had to prepare for the filming of the Devil's Carnival sequel in the fall. So, obviously, the July deadline was not met. When she finally gave an update in late 2014, the ETA was basically “we are ever so close, but the audiobook gets there when it gets there; feel free to ask for a refund if you're not along for the ride”.
And then she signed with a literary agent. TAFWVG was going to be made into a “real” book, that readers could purchase in stores for a normal price and request from their local library – big event! (More for EA, I think, than for her fans. By that point, the second edition could be purchased as a PDF, and I believe most people who pre-ordered the audiobook had already read the story.) But this involved tailoring the narrative to a more general audience, which meant portions of the book had to be re-written... which meant further delays.

...Besides, and let’s have a teacup of “honesty time” here, if the new Asylum becomes an internationally best-selling novel, not only can we enact more change for good, but the Asylum Musical takes over Broadway faster, the Asylum Movie takes over theatres faster, and YOU are all dressed up as rats/inmates in said movie, you guessed it, faster (“Asylum Audiobook Announcement from EA”📝)

Well, you know what they say in show business: if you can't make it in London, there's always New York.
As EA assured her fans, their patience would be rewarded with a brand new, professionally polished version of the story – and in due time, I guess, a role in the movie. (“Let's hope she doesn't find another new microphone!” 🐀)
From that point on, there seems to have been an ever-widening gap between EA's enthusiasm and fan expectations. When audiobook snippets 🎤.mp3) were released, many fans were unimpressed by the oddly flat, overproduced recording (turns out a microphone can be so good it's a problem! 🐀), which highlighted EA's stilted, uncanny diction and not-quite-transatlantic accent. That caught everyone off guard, because she didn't use to read like... that. Even die-hard apologists had to concede through gritted teeth that, tragically, it was giving William Shatner. (If you're curious, you can find more previews here 🎤📝, along with EA's captions.)
Fans weren't just getting irritated with the various delays and excuses: they were baffled, angry, and embarrassed. When EA clapped back “U know U can just get a refund, right? That is totally within your power to do” on social media, and it came out that requests for refunds had been getting ignored for weeks or months 🐀, seasoned fans were like “Yeah, that tracks.” The whole never-ending ordeal was just starting to feel silly.
All told, the audiobook took two years to complete, with little to no new music in the interim. Two years is a long time for a young-leaning audience! Fans who had preordered at the end of their sophomore year were graduating high school by the time it came out. Others who had been in the middle of undergrad were now looking for full-time jobs. People had gotten pregnant, given birth and potty trained, or had houses built from the ground up. Genuine ultra-fans of the book had had time to... presumably, read other books. (“I wonder how many people passed away waiting for this shitty audiobook to be finished?”)
When the audiobook came out, many long-time Plague Rats had defected, either lamenting the misguided decisions of their favorite artist, or just calling EA a money-grabbing fraud and a lying liar. And a number of patient and unbothered fans had, quite simply, grown out of their EA phase.
Your humble servant, for one, ordered the audiobook the week it went on sale, and stuck with that preorder through five address changes and two graduation ceremonies. Now, bear in mind: through all the ups and downs, even as the charm dispelled, my taste in music evolved, and my perception of EA herself changed, I never formally stopped considering myself a fan. (Mama didn't raise no quitter.) To this day, and to my profound embarrassment, I give enough of a shit that I'm taking the time to write this story at all, and that I was able to draft most of itfrom memory.(Mama didn't teach me how to prioritize.) Well, get this: I have never once listened to the audiobook. I remember unwrapping the signed boxset (minimal artwork, flimsy cardboard, no liner notes), thinking “this could have been an email”, telling myself I'd get around to it for old time's sake... and then I never did, because it was ten hours long, and I just couldn't force myself to care about that story anymore. I was not an isolated case.
In light of this, I apologize in advance for any potential errors in the following paragraphs; others listened so posers like me wouldn't have to 🔍, and I'm going off of their word. The new and improved edition was, indeed, a different book – in that a bunch of things that felt meaningful to fans had been either reworked or excised.
THE AUDIOBOOK EDITS
The hospital narrative had been shortened in favor of the asylum story, and the controversial “Drug / Suicide / Cutting” diaries had been scrapped. Part of the fanbase applauded this decision, but others were disappointed 🐀, as they had found the diaries to be the most (some said only) personal, authentic, and insightful chapters in the book.
Curse words, some abuse, and all mentions of abortion had also been purged. It made the book tamer, but not by much... because Emilie's age had been changed from 27 to 17. Apparently, the literary agent had suggested this to make the book more marketable to a Young Adult audience. No other biographical detail had been altered, so the main narrator was now a 17 year old girl with no parents but an established music career, who checks in by herself into a high-security adult ward, no questions asked. (I'm still perplexed by this one. Did they not expect YA readers to know how hospitals work...?)
The pirate captain, formally known by her “mass of tangled black hair”, was now... a blonde. According to EA, this was a purely aesthetic change: it made the three main Asylum girls a redhead, a blonde and a brunette, which would look better in the stage adaptation. Between the lines, it also distanced the character from its original dark-haired muse: Vecona, who had left the Crumpets in 2008 after a rumored falling-out with EA over unpaid costume work.
The minor characters based on EA's old Chicago friends had been discarded entirely. Which likely made sense for EA – she hadn't lived there in years, the friend group had drifted apart as friend groups do, and by that point, there no longer was an EA forum to administrate or comment on – but not so much for her readers. Some fans had grown fond of these fictional inmates (wasn't that the point?), and weren't too happy to see EA symbolically treat them as disposable. Others were saddened that EA would just scrap these remnants of her old life, and of what felt like simpler, happier times in the fandom. Either way, children, this is why you shouldn't get a neck tattoo of your first boyfriend's name, OR openly base the “good guys” in your career-defining book on friends you made in your early twenties.
To compensate for the loss of... most named inmate characters, Veronica was given a much more prominent role in the plot. Namely, instead of being best friends, Veronica and Emily were now... in love! Lovers! Lesbian lovers! Which naturally meant that Veronica had to die. 🔍 Besides, fans famously love it when you pull a gay ship out of thin air between your two main characters, and then kill one of them off so that the other suffers more.
One last one, because I find it especially goofy: a scrappy teddy bear named Suffer, given to Emily by the talking rats, was replaced with...a Very Large Spoon, which gets its very own number in the musical. 🎵 The rationale was that Emily could use the spoon as a weapon in the climactic uprising against the Asylum doctors. Which, fair enough... except that, prior to being a cute and anachronistic 🔍 MacGuffin in the fictional Asylum story, Suffer the Bear had been a beloved mascot🪞 from the early Opheliac live shows. Some still remembered when EA had raised HELL, even starting a #FREESUFFER campaign on Twitter, because she thought someone had stolen Suffer from the stage (it later turned out that he had been misplaced in a flight case). All that noise back in the day... and now Suffer didn't matter anymore? The nerve. “She made shirts and everything!” 🐀
All this to say, reception was lukewarm. EA hadn't performed live since 2014 and the Devil's Carnival sequel had failed to make a splash (despite decent reviews, the franchise and main collaboration fell apart before the end of the promotional tour 🔍). People were checking out. There was only one way to correct this. A true paradigm shift. A fresh start – a new theme?
Hell no. It's another edition of The Asylum for Revisionist Tortureporn Friendfictions!

ROUND 4: THE E-BOOK & THE QUEST FOR THE SPOON OF ROYALS

In 2017, about a year after the audiobook release, EA self-published a digital version of TAFWVG through Amazon. The literary agent hadn't worked out in the end: publishers were put off by how dark the book was, even after the audiobook edits. EA explained that she hadn't been comfortable with some of the alterations in the first place; she respected the agent's input and had tried to give it an honest shot, but in the end, she wanted to do it the way she wanted to do it, solo... and this was it.
EA had reverted a number of the audiobook cuts (including swear words, mentions of abortion, and the narrator's age), but kept most of the changes to the Asylum narrative – namely, the omission of Former Friends Characters, and the romance between Emily and Veronica. In the newsletter announcement, she mentions being in the process of “re-recording the few little bits of the audiobook to reflect the current text version”. Not sure where we're at on that front; it's never been brought up again, and I don't think anyone's checked. (I assume most fans had war flashbacks when they read the word “re-record”, and instantly repressed that part of the communiqué.)
The “Drug / Suicide / Cutting” diaries were still omitted in the first release of the e-book, but re-included as a coda soon after, by popular demand, under the title “Evidence of Insanity” – with fantastical “doctor's annotations” like“W14A seems to have disassociated her own identity, episodic, each lasting for a longer period of time. We suspect she will continue further in this – stronger medication is needed, schedule electroconvulsive therapy.”
A physical paperback edition was released a few months later; in anticipation of this, the e-book was a stripped-down, text-centric version of the story. (Honestly not a bad call, because the digital version from 2012 was a scanned, non-searchable, 1.3GB PDF behemoth – not super Kindle-friendly!) No elaborate backgrounds and color photographs in this edition, but the pages were still illustrated with inserts of rats, keys, teacups, and... hold on... ciphers??🪞
As always in the Asylum, history doesn't repeat itself, but it rhymes. In a throwback to the prelapsarian days of the Enchant Puzzle (remember? the one that no one ever managed to solve?), the e-book illustrations contained puzzles, which formed the master-key to... a scavenger hunt! And in keeping with tradition, the grand prize was an extravagant adornment hand-crafted by EA: the “Spoon of Royals”.🪞📝 Oh my!
Some of the puzzles are simple anagrams that can be solved for keywords. A clickable word within the adjacent text takes you to a password-protected link, which takes you through to an audio file – a song or an atmospheric instrumental that goes with that moment of the story. There are also more complex ciphers that decode into riddles. Each key depicted in the book has a number or letter engraved on it. The total number of rats in the book is apparently significant. One link takes you through to a blank page whose source code contains a list of coordinates from various bridges around the world.
Oh, it was a whole thing. When the book came out, you could send a picture of you doing EA's signature “rat claw” hand sign🪞 to request admission to a private Facebook group (the “Striped Stocking Society”) where people could help each other solve the clues and EA would occasionally pop in for a chat. There was also a series of mysterious newsletters in early 2018, culminating in a Los Angeles event where EA showed up in person to pass on extra puzzle-solving material to a handful of lucky fans (although said material raised more questions that it answered 📝).
Overall, it was a great idea! Although the fanbase was generally smaller and less active after four years without a new tour or album (and a fair amount of other drama, which we have yet to get into), the e-book puzzle did pique people's interest in purchasing yet another version of the same story.
Unfortunately, once again, EA overestimated either how intuitive her fans were, or how invested they would remain. After months of collaborative efforts across multiple platforms, a number of puzzles had been cracked 🔍, but it was still unclear how the individual anagrams and numbers and riddle-solutions all fit together as scavenger hunt clues.
EA kept up the hype for a while, but the few hints that she gave on social media only revealed yet more encryption factors without really helping fans connect the dots. One cipher remained unsolved on Instagram for days and days before EA caved in and hinted at which key to use. She did helpfully specify that if you didn't know how to read music, you'd better start learning. (...Was this a fun puzzle, or a prep school admission test?) The in-person LA event had also sown some confusion as to the rules and constraints of the game: would winning involve traveling to a physical location? That didn't seem very fair. EA had mentioned physically burying some items – but could you solve the puzzle from a distance? Is the Spoon of Royals literally just buried under the Shakespeare Bridge in Los Angeles, California?? 🐀
I'm just saying: if this had come up in 2008? People in corsets and platform boots would have been out there digging.
But this was 2018. As we've mentioned, the core of EA's active fanbase (a lot of whom had been teens and young adults when she was touring Opheliac) was fast aging out of the years when most folks have the spare time, dedication, or desire to essentially do super-involved homework out of love for their favorite singer. Uncovering new songs was a fun perk the first year – but after the new album came out in 2018, none of the passwords led to exclusive material anymore. It felt a bit lacklustre for something so labor-intensive.
(The new music itself wasn't a rallying point either. Behind the Musical was, quite literally, an intended vocal guide for the Asylum musical – so, basically a collection of demos. The sound was VERY Broadway Revival, somewhat Phantomish 🎵, in a way that's either good or bad depending on who's saying it. The violins, to fans' chagrin, sounded all-MIDI; no sign of actual instrumental recordings. EA sang all the parts herself, as she had on her previous album. I'm not saying there's no merit in a one-woman Andrew Lloyd Weber tribute. Many old fans enjoyed the new material well enough, some even really liked it – but most agreed that it just didn't hit like her earlier stuff used to, and that it felt rather unfinished.)
Unlike with the Enchant Puzzle, the prize itself was not much of an intrinsic motivation. While the Faerie Queen's Wings were a straightforward concept that evoked EA's own signature stage costumes, the Spoon of Royals was... a large spoon attached to a necklace, community-college-art-teacher style. It looked impractical both as a spoon and as a necklace, and more importantly, I'm not sure how many readers felt a deep emotional connection to the spoon in the story. The spoon that had usurped Suffer the Bear, no less!
In short: people gave up on the game because it was too hard, it came too late, and they had other things to do.
Thus, the Spoon of Royals remains unclaimed to this day, and I doubt I'll see anyone crack the puzzle in this lifetime. The Striped Stocking Society FB group was terminated in 2020, around the same time a bunch of fansites folded and EA closed her Instagram comments for the first time. By that point, both EA and her fans had bigger rats to skewer – but we have a ways to go before we reach that part of the story.
I would encourage you to give the puzzle a shot for the hell of it (in case you're a cryptography nerd and currently under house arrest or in a full-body cast) but... I just tried a bunch of the links, and the passwords don't work anymore. So I guess that's that. To quote old Bill by way of conclusion: “Much ado about nothing”.

ROUND TOO-MANY: I'LL SEE YOU ON BROADWAY OR I'LL SEE YOU IN HELL

So, what now? Well, not much.
By the late 2010s, what kept many fans semi-invested – if nothing else, because it clearly meant so much to EA herself – was the prospect of an upcoming stage musical adaptation. The way EA talked about it 📺, it was very much a “when”, not an “if”. Sure, ten years on, we were still collectively stuck in the Asylum, but it would at least be a new format – and a return to EA's main field of expertise, ie songwriting and performing. Not only did the core fanbase long for new music and new shows, but Fight Like a Girl and Behind the Musical had brought in small influxes of new fans who were very eager for any chance to see her live. So whether it was out of genuine enthusiasm for the project, or out of “let EA have her musical so we can maybe finally move on”, the fanbase was overall supportive.
Even though people still joked about the 2012 announcement of a “2014 West End debut” (seriously, what was she thinking?), EA had really buckled down in the intervening years, and it looked like the project was plausibly well underway. As in, we had more than just EA's word to go on: the involvement of other people, who did not reside in the Asylum, seemed to confirm that the musical was a thing.

[CONTINUED IN COMMENTS because Reddit is being ridiculous about the character count. I swear I was under 40,000!]

About the closest you're going to get to a new production any time soon, here's a special episode that was made for the audio drama series Starship Excelsior. If you don't listen to it, you won't get any of the references or bad jokes. They use a lot of BSG music and references in their series. It was originally an April fools day special, so it wasn't meant to be serious to begin with.
https://starshipexcelsior.com/downloads/garyandbob/BattlestarExcelsior.mp3
Listen to all their episodes: https://starshipexcelsior.com/
It's another "Re-BOOT".

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Alan Cerra - Pollux (Agustin Pietrocola Remix) / Key Cm, BPM 122, 7:29, MP3 18.00 Mb, AIFF 79.17 Mb
Artem Arknet - Nebula (Neuralis Remix) / Key Fm, BPM 121, 7:33, MP3 18.17 Mb, AIFF 79.92 Mb
Berdu - Ciclon (Vitaly Shturm Remix) / Key Cm, BPM 121, 7:27, MP3 17.95 Mb, AIFF 78.96 Mb
Berdu - Manifest / Key Fm, BPM 122, 7:44, MP3 18.63 Mb, AIFF 81.95 Mb
Brian De Santis - Deva (Lila Rose UY Remix) / Key Gm, BPM 120, 8:00, MP3 19.26 Mb, AIFF 84.72 Mb
Carlos Gatto - Shimai Valen (Joachim L Remix) / Key Gm, BPM 121, 6:59, MP3 16.80 Mb, AIFF 73.88 Mb
Diego Acosta - Destino (Chris Doppler Remix) / Key Ebm, BPM 120, 8:05, MP3 19.45 Mb, AIFF 85.57 Mb
Diego R. - No Drama / Key Em, BPM 121, 7:40, MP3 18.47 Mb, AIFF 81.25 Mb
Ernes Guevara - Aphanisis (Redspace Remix) / Key F#m, BPM 121, 7:22, MP3 17.75 Mb, AIFF 78.10 Mb
Facundo Navarro - Melodies of Traveler / Key Gm, BPM 122, 7:46, MP3 18.70 Mb, AIFF 82.30 Mb
Federico Flores - Outer Space (Callecat Remix) / Key Dm, BPM 122, 6:51, MP3 16.50 Mb, AIFF 72.58 Mb
Fran Garay - Geneva (Taylan Remix) / Key Bbm, BPM 122, 7:09, MP3 17.21 Mb, AIFF 75.70 Mb
Govinda (Arg) - Plexo Solar / Key Gm, BPM 123, 8:14, MP3 19.80 Mb, AIFF 87.14 Mb
INNERPHONIC - Galactic Trip (Hypnotised & PatriZe Dusk Remix) / Key Dm, BPM 122, 7:17, MP3 17.52 Mb, AIFF 77.09 Mb
Ignacio Salgado - Attuale (Munz AR & Ezequiel Perini Remix) / Key Em, BPM 121, 7:35, MP3 18.25 Mb, AIFF 80.31 Mb
Influence & Berlin Man - Skylark (Drekaan's Breaks Rethink) / Key Gm, BPM 122, 8:28, MP3 20.37 Mb, AIFF 89.64 Mb
Influence & Berlin Man - Skylark (Dublew & STEREO MUNK Remix) / Key Gm, BPM 120, 8:38, MP3 20.78 Mb, AIFF 91.45 Mb
Influence - Magic Land (Cedren & Manu-L Remix) / Key Dm, BPM 124, 7:18, MP3 17.57 Mb, AIFF 77.30 Mb
Ivan Baffa - Omaha (Bagsol Remix) / Key Em, BPM 120, 7:28, MP3 17.98 Mb, AIFF 79.08 Mb
Javier Román - Iris (Christian Monique Remix) / Key Gm, BPM 122, 7:29, MP3 18.00 Mb, AIFF 79.17 Mb
Jero Nougues & Lila Rose (UY) - Violet (Leila Scheiwe Remix) / Key Dbm, BPM 120, 7:28, MP3 17.98 Mb, AIFF 79.08 Mb
Jhordan Welsch & Mindlancholic - The Sound of Sadness (Carlos Gatto Remix) / Key Em, BPM 123, 6:46, MP3 16.29 Mb, AIFF 71.65 Mb
Kay-D - Cascade (Yonsh Remix) / Key Dm, BPM 120, 7:36, MP3 18.29 Mb, AIFF 80.49 Mb
Kayinda - Aquadom / Key Fm, BPM 123, 8:02, MP3 19.33 Mb, AIFF 85.07 Mb
Lavie Au Soleil - Proganic (Nacres Remix) / Key Fm, BPM 122, 7:25, MP3 17.84 Mb, AIFF 78.48 Mb
Lucas Perdomo - Eclipse (Kebin Van Reeken Reinterpretation) / Key Gm, BPM 124, 7:51, MP3 18.88 Mb, AIFF 83.06 Mb
MC Kasper - Universal (Thomas Compana Remix) / Key Em, BPM 122, 8:21, MP3 20.08 Mb, AIFF 88.37 Mb
Marc Denuit - Planisphere 512 (Luman Remix) / Key Fm, BPM 118, 7:20, MP3 17.67 Mb, AIFF 77.73 Mb
Marchesan & Venao - Deep Mantra / Key Ebm, BPM 122, 7:21, MP3 17.68 Mb, AIFF 77.79 Mb
Marchesan - God's Plan (Randle & Imal SL Remix) / Key C, BPM 121, 7:27, MP3 17.92 Mb, AIFF 78.83 Mb
Mariano Giacinti - The Edge of Space / Key Dm, BPM 122, 7:46, MP3 18.70 Mb, AIFF 82.30 Mb
Matt Oliver - Shards of Light / Key C, BPM 121, 8:31, MP3 20.48 Mb, AIFF 90.15 Mb
Michael A - Ignition (Alan Cerra Remix) / Key Dm, BPM 121, 7:45, MP3 18.64 Mb, AIFF 82.04 Mb
Miliano - Touch Me / Key D, BPM 122, 7:56, MP3 19.10 Mb, AIFF 84.03 Mb
Mind Echoes - Jamacaí / Key Abm, BPM 122, 7:52, MP3 18.94 Mb, AIFF 83.34 Mb
Mindlancholic - Lost in a Dream (Poli Siufi Remix) / Key Gm, BPM 122, 8:00, MP3 19.26 Mb, AIFF 84.72 Mb
Neuralis - Flush (Kris Dur & Leandro Murua Remix) / Key Cm, BPM 122, 7:29, MP3 18.00 Mb, AIFF 79.17 Mb
Orange JD - Vertigo (Sinan Arsan Remix) / Key Dm, BPM 122, 8:40, MP3 20.87 Mb, AIFF 91.84 Mb
Sound Fusion - Last Sunset / Key Dm, BPM 120, 6:56, MP3 16.70 Mb, AIFF 73.44 Mb
VegaZ SL - The Lights (Maze 28 Remix) / Key Am, BPM 122, 7:41, MP3 18.50 Mb, AIFF 81.37 Mb
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DOWNLOAD - progonlymusic com

Making a topic on here, as let's be honest, it's Reddit and people are here for the drama, there are more lurkers on here than on the M3lin@ J subreddit...
There have been discussions in our fandom about making music on Linux (distros). There have been discussions about how HIDDEN AND NON-DISCLOSED dll and drivers on Windows automatically "enhance" and correct the voice and pitch while you're singing/recording. The outcome is that the singer SEEMS to be able to sing higher notes that she/he can actually sing. 🤷
On Linux, it's "plug and play", so no fancy software and drivers, what you hear is what you actually sing. The voice is recorded as is (raw recording). Melina's songs were all made using Linux, so no voice correction or anything. Most of the time, it's perf. Other singers (at least a few French singers) seem to not use voice correction either, but I think they use studio grade recording hardware ???
Mélina did some demos before, and the voice at least was recorded on W7, turning all the fancy effects off (it becomes difficult to work with a voice if you add effects while recording, apparently even muting the breathing might be hard to do without making it sound off). But, despite all the settings set to "off", there was still voice correction that allowed her to sing higher than she actually can. (And then the demo's pitch was set to higher during mixing, like it's humanly impossible to sing that final song as is. 🤷 )
Melina decided to record the final actual song on Linux, and the result is not bad, but we can tell it's not possible to sing as is. (Allegedly that's when she realized she got bamboozled and there was voice/pitch correction when using W7. Don't be mean to Melina, her other songs that she recorded without ANY voice correction are perf, it's just that the pitch of Lovely Holiday, even if lower than Lovely Summer (the original demo of the same song, that she composed and wrote, from 2015 or earlier) is too high for her voice, each of their own.
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Anyway, it led to discussions and everybody falling into a rabbit hole about all the music making software. Long story short, Melina decided to record her own (real/wooden) instruments that she owns and make music like that WITHOUT USING VSTs. Some are saying VST3 work on Linux, but most say you need to use Wine (which is a big no for lots of people). The VSTs available on the main VST maker (the company which owns the patent) are advertised as working on Windows and IOS, not on Linux, though ??? (Also, I love how they just introduce their VST instruments by explaining the patent, basically, and after a few minutes you can listen to the actual instrument (their AI drum thingy) 😹 )
The issue is not VSTs apparently, Melina is happy with the way she makes music. The issue is that electronic instruments (to make techno/EDM) are only sold as VSTs (and of course you're not allowed to extract the sound), nobody is selling THE NOTES, that can be used as is. This is the main issue.
Fewer and fewer people make music the old school way. Most music makers don't even know how to play cord instruments, since they're sold as synths nowadays.
Nowadays, there are "meow music software" that are in-browser and "in the cloud", that run on any device regardless of the OS. One of them is even backed by Universal (https://www.universalmusic.com/universal-music-group-and-bandlab-technologies-announce-first-of-its-kind-strategic-ai-collaboration/ ), which means they are serious and approved. Which means their electronic synths can be used without issue. That's good for EDM. The "down side" is as it's a free to use software (with advert), you can use all their stuff for free (synths, software, loops, effects and AI melody making software), but everybody else can also use the music you made from it. It's good for EDM, as people like to remix songs.
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Anyway, speaking of techno music/EDM, that's the kind of music that defo needs voice/pitch correction. Maybe singing high pitch and adding effects would do, but let's be honest, voice/pitch correction is what makes the ethereal effect possible.
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The main point : Can anyone make a software that runs NATIVELY on Linux for recording the voice adding voice/pitch correction ? Like, a standalone software just to record the voice (with or without ability to play music in sync) or a plug in for an existing one (again, which runs NATIVELY WITHOUT THE NEED OF WINE).
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From what we found on g00gle, it seems to be a slippery slop and coders would NEED TO BE CAREFUL, indeed. HOWEVER, the old school voice/pitch correction from the 1990s is what most people would want, simple and efficient. AND THEIR PATENTS HAVE EXPIRED IN 2018. 😺 We're talking about the software that were massively used by radio hosts in the 1990s (and later), that makes the voice "warmer" (or is that what "rounding the notes" mean ???) and capable to hit higher notes. It seems it also fills the blank of the voice, to give the impression that the note is maintained smoothly. (Not sure of the wording, not a musician and English is difficult).
That being said, more modern voice and pitch correction software are still patented (set to expire in like 2035, so be sure to not infringe that !!!).
Since all the MP3 stuff patents have also expired, maybe things are easier to do ??? (Legit question, most of us don't really know how it all works).
Also, to be clear : WE'RE NOT TALKING ABOUT AUTOTUNE (vocoders) !!! Ffs, leave autotune and it's robot unnatural effects in the 2000s, where it belongs.
We're talking about smooth correction. SMOOTH is definitely the word.
Since it's from the 1990s, we're assuming there was no AI involved ? (I think everybody can forget about AI, gotta be patented to the core ????)
Also, something with settings like "mild" and "strong" to let singers decide if they want lots of correction or just a bit, would be great. Sometimes we hear songs, and the singer's voice is so processed, they sound unnatural, that's clearly something that most want to avoid.
Nobody is telling people to make software for free, but in such case, make sure people outside the USA can actually purchase it (DO NOT only accept Paypal or USA only payment methods).
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Now, speaking of AI, we don't know if people from OpenAI or Microsoft (or other companies that work on AI) stan our subreddit (I mean, the ones who know how to code), but since AI might be good for voice / pitch correction, instead of making boring bots nobody cares about, maybe they could do a software like that ?
Also, since Microsoft 💖 Linux and sit on the Linux Foundation board, they would have no issue releasing a software that RUNS NATIVELY on a REAL (not wsl) Linux OS ? (We're still waiting for the deb package of Candy Crush, btw..........)
Something great, that doesn't require a monthly fee, doesn't require an internet connection and that doesn't grant them use of your voice, though... (So, maybe another AI company ?)
Also, if a software like that was to be made by a big company as a paid for proprietary software, I think most Linux users would say "Talk is cheap, show me the code patents !" That is to say, we would want them to show the AI technology used in such software is patented by them (or a proof they're paying the patent licensing fee and that users can use it without being sued).
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(Software patents should be abolished, don't get me wrong, but let's live in reality, shall we ?)
It think most musicians would still rather pick a software made by Linux devs, though.
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That is all.

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Kirr Sounds - No More Drama / Key Gm, BPM 122, 4:36, MP3 11.08 Mb, AIFF 48.75 Mb
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DOWNLOAD - progonlymusic com

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APNITUS - Ocean / Key G, BPM 122, 7:25, MP3 17.80 Mb, AIFF 78.43 Mb
Arkatekt & Sean Harvey - Lateral / Key Gm, BPM 124, 7:24, MP3 17.79 Mb, AIFF 78.39 Mb
Askoui - Embodiment / Key D, BPM 117, 6:10, MP3 14.81 Mb, AIFF 65.24 Mb
Callecat - Oskar (Ricardo Piedra Remix) / Key Dm, BPM 122, 7:43, MP3 18.54 Mb, AIFF 81.70 Mb
Dany Dz - Beyond Words / Key Em, BPM 120, 8:10, MP3 19.62 Mb, AIFF 86.45 Mb
Deacon Cross - Over the Moon (feat. Sensi) / Key Fm, BPM 123, 8:12, MP3 19.70 Mb, AIFF 86.81 Mb
Evernaya - Dusk (Federico Puentes Remix) / Key D, BPM 121, 8:31, MP3 20.45 Mb, AIFF 90.11 Mb
Facundo Borras - You Can Leave / Key Fm, BPM 123, 7:52, MP3 18.91 Mb, AIFF 83.31 Mb
Fatih Ulusoy - Wait to Rain (Sinan Arsan Remix) / Key Em, BPM 120, 8:33, MP3 20.54 Mb, AIFF 90.51 Mb
Fer Mora - Simulation / Key G, BPM 122, 8:11, MP3 19.64 Mb, AIFF 86.56 Mb
Fiorella (FR) - Horizon / Key Am, BPM 124, 6:59, MP3 16.78 Mb, AIFF 73.92 Mb
G.O.D.A. - With Pleasure (Darren Bray Remix) / Key Ebm, BPM 120, 8:05, MP3 19.41 Mb, AIFF 85.55 Mb
Hernan Martinez - Endless Fly / Key Cm, BPM 120, 8:20, MP3 20.02 Mb, AIFF 88.22 Mb
Hyunji-A - Desert Tundra / Key Em, BPM 125, 6:57, MP3 16.69 Mb, AIFF 73.52 Mb
Kandar & Morning Delusions - Forgiven (Instrumental Mix) / Key Dm, BPM 122, 6:59, MP3 16.78 Mb, AIFF 73.93 Mb
Luman - Moebius (Yudi Watanabe Remix) / Key Em, BPM 122, 8:08, MP3 19.54 Mb, AIFF 86.08 Mb
Manuelo & Joan Dik - High Skies / Key Bm, BPM 118, 6:35, MP3 15.80 Mb, AIFF 69.61 Mb
Max Averbach - Altered States / Key Cm, BPM 120, 6:28, MP3 15.54 Mb, AIFF 68.46 Mb
Maximo Gambini - Equality / Key Cm, BPM 122, 7:51, MP3 18.87 Mb, AIFF 83.13 Mb
OPTONIKA - Blank Blank (Francisco Ugarte Remix) / Key Fm, BPM 120, 7:12, MP3 17.28 Mb, AIFF 76.14 Mb
Pourya Feredi - Deep Stickers / Key Am, BPM 122, 7:24, MP3 17.80 Mb, AIFF 78.41 Mb
SALAZAR - Oumuamua / Key Fm, BPM 121, 8:00, MP3 19.22 Mb, AIFF 84.69 Mb
Saleh & Around Us - Symphony of the Night (M.Rojas Remix) / Key Dbm, BPM 118, 8:33, MP3 20.53 Mb, AIFF 90.47 Mb
Specifik - Tenest / Key Cm, BPM 120, 6:40, MP3 16.03 Mb, AIFF 70.61 Mb
Stan Seba & Bynomic - Holy Ground / Key Ebm, BPM 120, 8:36, MP3 20.67 Mb, AIFF 91.07 Mb
Tenerfuse - Run / Key Db, BPM 123, 7:25, MP3 17.82 Mb, AIFF 78.50 Mb
Tojogo - Plains Odyssey / Key Am, BPM 122, 7:36, MP3 18.28 Mb, AIFF 80.53 Mb
Vahag - Drama / Key Gm, BPM 122, 5:52, MP3 14.11 Mb, AIFF 62.14 Mb
Valeria Petz - ScandGrace / Key Cm, BPM 122, 7:21, MP3 17.65 Mb, AIFF 77.75 Mb
Xspance - Harmonic Freefall / Key Cm, BPM 119, 8:09, MP3 19.57 Mb, AIFF 86.24 Mb
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DOWNLOAD - progonlymusic com

an-young chingos, sm is jinjja pabo imnidia.. wae? because i just found a glitch in the kwangya.
acc to aespa lore, ae or ai mean digital people who are better versions of ourselves without any flaws...they dont bully, date or drinking smoking scandals or become hags.
we could literally download all ai covers from youtbe to mp3 and rename the as 'Drama ae-version' 'To.X(ae COVER)'.. make album or debut ae-members overnight. we can make milllions from this glitch with little invest. theres no flaw in this glitch, its written in the aespa lore. futher we can save the company from going assm company just like shitz*y group.
many sm sunbaenims are running away from the company. even without them real artist, we can make an ae version of them and continue with releasing albums, mvs and what not as if nothing happened,
i think the old man had this vision way before, him thinking ahead of his generation scared the shit out of his competitors and his own family backstabbed him. he knew what was going to happen in the fututre but sadly he had to disband from the company for bullying his nephew. -_-

Hello!
I'm new to this forum. I have not found an arranging subreddit with very much activity, but please let me know if I'm in the wrong place for this kind of post.
I wanted to share one of my in-progress arranging projects and humbly ask for your criticism. A PDF and audio file are linked below:
https://www.dropbox.com/scl/fo/ljosc9l0xfy0k6fc6r69d/h?rlkey=aml3pst90rdspugzuyiyjllb2&dl=0
If you use Finale, please open the Finale file. (You should have no issue if you download after the "Can't load this file type" prompt.) In my mp3 the violin 1 part is absent; I'm not sure why. This is apparently a glitch with the software. My apologies! I am working on transferring the audio to my DAW, but until then, I hope this audio is still helpful in some way to those who don't have Finale.
Backstory and questions
In my notation and score prep class at music school, we were given an extra credit challenge to post a composition or arrangement online and make it buyable over the next month -- I am aiming for mid-April 2024. At the moment I'm thinking I will sell my score on ArrangeMe. https://www.arrangeme.com/ I decided to write a string quartet version of a Caroline Polachek song I love (linked at the bottom.)
My works mostly fall under the classical umbrella, but during my past year at college and especially in this current class I've notated very short excerpts and arrangements of pop and rock songs. This "Butterfly Net" arrangement is more extensive, though, and I'm having some doubts about it in terms of texture, rhythm, and narrative pace. I really want to do this beautiful song at least some justice and I would greatly appreciate your advice. (My class focuses on notation itself and not at all on composition, but I would like whatever I publish online to be compositionally solid.)
I know that arrangements fall on a scale of very faithful to more transformative. For example, Josh Cohen's piano arrangement of "Paranoid Android" by Radiohead is closer to the latter -- Cohen created a spacious intro with a completely different mood than the original, and he extends and reworks later sections within the song. I would like to be faithful to Polachek's formal structure and honor her precise harmonies and melodic lines (I simplified some rhythms) -- because I don't have much time. A string quartet obviously has many limits and I have some specific questions:
- I have the pizz. cello emulate the guitar in the beginning, and in the chorus the viola plays pizz. to add rhythmic interest where the percussion was. Is this effective, or distracting?
- Am I changing textures too quickly throughout the piece so far? I would like to slowly build the energy and drama.
- In bar 19 I considered having the viola continue playing a rhythmic part, but I recognize that it's basic practice not to have all four instruments playing together for the entire piece. Without the viola, the passage at bar 19 onwards sounds silly and anemic to me. How could I add some lushness that the original has without exhausting my ensemble?
Thank you so much for reading and for listening! Behold the original "Butterfly Net": https://www.youtube.com/watch?v=_L4N0e5ikSk
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