Hailey Bieber Numerology Reading

Before becoming the wife of Justin Bieber, she went by the name of Hailey Rhode Baldwin. Firstly, her first name being her main name and being Hailey, let's see what that usually indicates on a general level.
Being someone who holds the first name, Hailey means that you appear either quiet, mature, or shy amongst others. You likely have an impression that can strike others as strong, serious, mean, or relaxed, depending on other factors. The name Hailey holds no double numbers, so it is a good balance of energies, but there are still general lessons people with the name Hailey has. This name holds the energy of 8,1,9,3,5,and 7. The numbers we don't see is 2,4 and 6. This could be why people with the name Hailey may not seem easily approachable by many people, but certain people may be drawn to this energy and won't notice anything off balance. Hailey names give people naturally embedded strength and some form of power, even if it is subtle. They may not always have a simple love life because with 2, 4, and 6 missing, these women/females can struggle sometimes with commitment or close intimacy and could have been too independent or avoidant at one point when someone was trying to love them. The name Hailey makes someone complex because on one hand, they a serious regarding their disposition(8) because they want to appear structured and well received by the public (1) or it makes them feel good to be well put together. They are naturally independent which could sometimes come off as distant(9), but they just want to explore and learn continuously(3). These are not initially people who place importance of romance.
Even if she is into relationships, she would likely not trust easily because of her name ending with the energy of 7 from Y which equals 25 before it is reduced to seven. This can make her a little cautious or strategic with her approach to any type of connections in her life because she want to make sure she can trust these people before she fully opens up.
Now as we look into her being Hailey Rhode Baldwin, this give her a lot of 5 energy. She has a few repeating numbers in her full name which are 8 twice which is good because she isn't overbearing, bossy, or mean, but she has tenacity and ambition most likely. Her capability of dedicating herself could be very strong. She can be obsessive, but it won't be too intense with the 2 8's balancing each other out. In other cases, this could cause her to overthink sometimes or have trust issues.
1 twice as well which emphasizes her not being a bratty type of woman because 1 and 8 can give someone a mean complex if there is enough of it. 1 is about being bold and taking the initiative.
9 three times in Hailey Rhode Baldwin's name which gives her emphasized 9 energy which is about power, authority, popularity, maturity, and travel. One thing she will likely always make time for is travel and learning. Could be into cultural knowledge as well.
Skipping to the fact that she has four 5's in her name, this is the energy emphasized the most. This equals 20 and then 2 making her appear soft, calm, loving, or sensitive. She could be very emotional with this energy and most likely have to perfect her emotional well-being.
Being HAILEY RHODE BALDWIN gives her the Destiny #4, soul urge #9, and Personality #4
Destiny #4 is the same as Halle Bailey. Destiny 4 people are private, especially about things they value and things they see as important and dear to them. It's serious. These types of people are naturally capable of withstanding or handling responsibility. They are evolving into mastering a life that is in order. Don't force these types of people out of their shell if they are not ready. Once these Destiny 4 types feel safe around you, their personality expands and show clearer.
As a soul urge 9, Hailey Bieber is a natural at quick learning and experience. She may be someone who could see something once and would know the ins and outs after that first time learning or practicing. 9 is mastery and wisdom.
As a personality #4, this makes Hailey a cautious person. She will not do or say anything if she isn't feeling comfortable to do so. She takes calculated steps and won't do anything she considers risky or stupid. She has to warm up to environments before she allows herself to be part of the festivities. Likely not too big on parties as an importance.
April and May of 2024 were very romantic times for Hailey Bieber which makes sense that she is now pregnant with Justin Bieber's baby.
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🫖 Welcome back to the Asylum write-up. This is where you live now. Part 1 Part 2 Part 3
In this installment, we finally take a closer look at how Emilie Autumn's hyper-loyal fanbase gradually started losing faith in her as, among other things, it became more and more apparent that she... wasn't exactly a reliable narrator – in her semi-autobiographical book, or in general.

HOW IT STARTED: A WOMAN OF MYSTERY

Willow, weep for me Don't think I don't see This life I'm living in two But still it's something I must do I'm not unique in this Nor am I special, sweet, or kind I court a thousand smiles Yet I keep my own to hide behind (“Willow”, 2004 🎵)

I've previously referred to EA as an “expert vagueposter”, and this is relevant here.
For an artist who built her brand on a pledge of raw, rats-and-all honesty, EA has always been quite guarded about the specifics of her personal life. (Until her current partner, for instance, she always danced around calling anyone a boyfriend, even when the nature of the relationship was pretty obvious.) Her whole angle is telling “the truth”, but through whimsical fantasy. As early as the fairy-themed Enchant era, she had her own world, her own vernacular; she spoke in metaphors, in-jokes, and quirky anachronisms. Taxis were carriages, her electric keyboard was a harpsichord, she always capitalized Time and Art like Shakespeare does. On the Asylum forum, automatic word filters would change “fan” to “muffin”, “fairy” to “faerie”, “bra” to “teacup holder”, and “responsibility” to “ratsponsibility”.
She's a chatterbox who loves to share memories and funny anecdotes, but she usually keeps them short and sweet, Snapple-facts style. 📝 She's great at painting by touches in her storytelling, revealing just enough to let your imagination auto-complete the rest. 🔍 Even the most banal tidbits are very artfully told, very “on brand”, often dense with symbolism and foreshadowing – but also very abstracted.
She is especially elusive when it comes to her background and formative years. See the way she catches herself in this interview 📺📝 while describing her “favorite scar”, which is from an eel bite: “My – well, someone I knew... [gasp-laugh] had it as a pet, and...” (She was about to say “my sister”.)
In short, the way EA talks about her life is often very personal, but not all that candid – and sounds more like it's meant to provide a curated, coherent backstory for Emilie Autumn the character, rather than Emilie Autumn the person.

I'll tell the truth, all my songs Are pretty much the fucking same I'm not a fairy but I need More than this life, so I became This creature representing more to you Than just another girl... (“Swallow”, 2006 🎵)

In the beginning, this guardedness naturally contributed to the mystique. It made it all the more special when, once in a while, she would briefly drop the theatrics to share something earnest and relatively unfiltered. Like this composed, but vulnerable post from 2004 📝 about her father losing his battle to cancer, and her attempts at closure over their tense relationship. Or this 2012 anti-bullying campaign thing 📺 in which she opens up about being a target of intense physical bullying in elementary school, to a point that contributed to her being homeschooled at 9.
Fans in the early years were curious about her backstory, of course – but not too prodding or invasive, to my knowledge. I think there was an understanding that EA, like many performers, wanted to come across as human and approachable, while still cultivating an “aura” and retaining some privacy. But obviously, when she announced that she was writing a Tell-All Memoir in 2007, everyone was dying to read it. TEA TIME!

HOW IT'S GOING: A WOMAN OF... MALARKEY???

LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! (“Liar”, 2006 🎵)

As we've learned, the original 2009 release of EA's book was highly anticipated, but somewhat tainted by a bunch of shipping delays and unfulfilled promises. From the start of her career, EA had always cultivated a close parasocial involvement with her audience; many fans had as deep an attachment to her, personally, as they did to her art. So, for instance, when EA tweeted about all the personal dedications she was lovingly writing in overdue books, only for the books to arrive many months later and unsigned with no tangible explanation, it wasn't simply frustrating: it was betrayal amongst kin!
Really, it wasn't so much about fans not getting what they paid for – it was about the lack of clear communication or genuine accountability. This is pure speculation on my part, but the poppycock that EA tweeted about signing the books strikes me as the panic-lie of someone who hadn't realized just how many heartfelt, personalized dedications she would actually have to write when she came home from tour. And then she just couldn't do it, because she was overworked, paralyzed, distracted, depressed, procrastinating, whatever. Which... you know... is unfortunate, but probably not unforgivable. Especially for a touring performer who is open and vocal about their mental health issues.
I'm confident that most fans would have been happy to tell her that her well-being meant more to them than an autograph, or something along those lines. Instead, EA's cagey and avoidant demeanor around this issue left fans very salty – and newly suspicious of their favorite artist's word.
Which was regrettable timing for EA, because they had just received their copies of her memoir.
Here's a cursory look at some key biographical points that didn't hold up to scrutiny when more and more vexed fans, over the years, started looking into them.
Content warning until end of post: family estrangement, death by fire, worsening physical health issues, mention of disordered eating / weight loss / thinspiration, and LIES! LIES! LIIIIIES!

“EMILIE AUTUMN LIDDELL (BORN SEPTEMBER 22, 1979) IS AN AMERICAN SINGER-SONGWRITER...” (Wikipedia)

Every fandom has its Holy Grail. Because a number of EA's early releases were limited pressings put out through now-defunct record labels, the EA fandom in its heyday was a collector's wonderland. 📝🦠 At the height of her popularity, the original Enchant jewelcase (the one with the puzzle-poster) could easily fetch around $500 dollars on eBay, unsigned. The handwritten lyrics of an Opheliac B-side went for $940 in 2009. Don't even ask me about the hard copies of her two poetry books: those never even popped up over the five or six years that I had various alerts set up for all EA-related listings.
But the true crown jewel of EA rarities is the untitled promo version of her (also virtually unfindable) 2001 instrumental debut On a Day... No one knows how many copies exist. The darn thing is so rare that it's not even listed on Discogs. For a while, the only picture of the elusive “Violin” promo CD that was circulated online was this one.🪞 Go ahead, click the link. Notice anything odd? That black box where one composer's birth year should be?
I'm not sure why the notorious hyper-fan who originally shared this picture on the forum in the early 2010s took it upon himself to censor it before posting. I wasn't able to pinpoint when or why people started questioning EA's age, but clearly, something had already transpired to let him know that not redacting said birth year might, uh... cause an upset. In any case: at some point, people started digging – and eventually, the unredacted version of the “Violin” tracklist (as well as public records and literal receipts from eBay auctions) would be brandished as one more piece of damning evidence that EA was indeed (gasp!) two years older than she claimed to be.
“Okay, and?” you shrug. “What's the big deal?” I'm shrugging too! What can I say? People don't like realizing they've been fooled, even about something stupid. I will note that EA's fall equinox birthday (hence her middle name “Autumn”, yes) had been somewhat significant in the fandom. Over the years, EA's birthdays had been marked by online release parties, Q&A's, community events, special merch sales... A number of fans liked donning her trademark cheek heart on September 22. It felt a bit uncanny to realize that she had been announcing a false age on those occasions. It wasn't “a big deal” so much as it was incredibly odd.
Other than being appalled that Self-Proclaimed Staunch Feminist EA would give in to the cult of youth and not cop up to her real age, many fans were just plain bewildered: who would commit so stubbornly to such an inconsequential lie? What was even the point of lying by two years only? Why did she think anyone would care that she was 28 rather than 26 when Opheliac came out? What was she possibly getting out of this...??
My completely speculative theory is that, whether it was her idea or her then-manager's, the lie originated as a marketing strategy early on in her career. The “Violin” demo was recorded in 1997, when EA was 19-going-on-20. Per the liner notes of On a Day... 📝, which came out when she was 22, the demo's purpose was to be “a sort of calling card in the classical music industry”. Evidently, that didn't work out; EA claims, in the same paragraph, to have walked out on a classical recording deal at 18 because they wouldn't give her enough creative control.
Talented and unique as she was, she was trying to break out in a notoriously elitist and innovation-resistant milieu – and unlike her, most of the 22-year-old classical violinists she was in competition with had actually graduated from their prestigious music schools. But you know what sells better than an ambitious college dropout in her early twenties? Tweaking the truth just so to market yourself as an unconventional wunderkind, barely out of her teens! Any rendition of a complex, learnèd musical piece sounds more intriguing and impressive if you think it was played by an especially young (and beautiful) person. 20 was plausible, close enough to her real age, barely a lie at all, and such a nice, round number for a debut album.
Notice how much of the On a Day... liner notes, linked above, center on her precociousness, her uniqueness, and her savant-like dedication to her craft – a focus that seems absent from the promo version (from what I can decipher in those potato-quality pictures, anyway). These talking points would provide the basis for a lot of her early self-promotion and budding stage persona in the Enchant years. Even though the EP failed to make EA a household name in the classical world, the wunderkind narrative was her “in” to grab the attention and heart of a broader audience.
And I guess she's been running with it ever since.

“MY ANCESTRY IS POSITIVELY LITTERED WITH LUNATICS AND GIRLS WHO FALL DOWN RABBIT HOLES ... MY NAME IS EMILIE AUTUMN LIDDELL. YES, THAT LIDDELL.”

Oh, come on. Much as a fan may want to believe, isn't that a little on the nose? The anglophile with an obsession for tea, clocks, and madness... is literally related to Alice in Wonderland? 🔍 Curiouser and curiouser indeed.
EA came out as Emilie Autumn Liddell in The Book – of course – in a passage where she describes an interaction with a nurse. 📝 Note how she stresses the authenticity of her name, and how not-chosen it is (and the Alice connection, which just comes up organically) by disclosing it in a scene where she's filling out paperwork.
I'm pointing this out, because it would be tempting to allow room for creative license (and the slightest cringe) in a work of creative fiction based on personal experience. Buuut... TAFWG was not marketed as fiction. The main narrative in TAFWG, according to EA, is an actual fac-simile of the journals she kept during a harrowing stay at a Los Angeles psychiatric hospital following a suicide attempt. This is something that EA has stressed from the inception of the book (and throughout all subsequents re-issues, even as the main narrative was altered and reworked), even claiming that a legal team had advised her to redact some names to avoid potential lawsuits. So, no, she's not doing a bit there.
When, after it made the rounds a few times, it became apparent that the claim didn't really make sense 📝🔍, reactions were mixed. Some older, diplomatic fans downplayed it as a somewhat embarrassing, but harmless self-mythologizing – similar in nature to her insistence on calling her electric keyboard a “harpsichord”. Devout EA apologists (commonly referred to as “bootlickers” in an increasingly polarized fandom – oh, don't worry, we're getting to that!) invoked the “life as performance art” defense: when she said it was literally her first name, she meant it metaphorically, duh! And either way, she probably had her reasons.
But others took offense at the boldness of the lie, or simply became curious. Was Liddell even her name at all?
If you've checked the link just above, you already know the answer. Per the public California birth log (a somewhat demented invasion of privacy that could well have been avoided by... not repeatedly drawing attention to a name that someone in the book calls “right out of a movie”?) : yes, no, kind of.
EA was born Emily Autumn Fischkopf* on September 22, 1977. The name came from her father, a first-generation immigrant from Germany. Her maternal grandmother's maiden name was Liddell (but no, not that Liddell, or so remotely that it doesn't matter). EA may have had it legally changed at some point in the last decade, but as of 2012, based on the public log of foreign visitors to Brazil (where she toured that year), her passport still bore the name “Emily Autumn Fischkopf”.
*No, EA's birth name is not literally “Fischkopf”. It's a non-silly German name that begins with an F. I know that it's ridiculous to clutch my pearls about EA's peace of mind now, but triggering new and disquieting Google alerts for a name she clearly wants nothing to do with (and that you don't care about) just feels... distasteful? I don't know. That info has been floating around long enough, the point has been made; this write-up is not about EA's last name, but about the fiends we made along the way! So Fischkopf it is.
Let's track the evolution here! It appears that she went by “Autumn Fischkopf” for at least part of her formative years, if we are to believe the credits from Mark Ruffalo's middling film debut 📺 (she was the child actor's violin-playing body double) and this random article about a Nigel Kennedy performance in 1997. 🔍 (That last link – possibly her first ever mention in the press? – is a niche favorite of mine. Violin superstar Nigel Kennedy calls her a “talented fiddler”, which suggests that she did have some cred and promise in the classical milieu at a young age, and that there is at least some truth to her claims of being a wunderkind. It also cracks me up that, out of all the things she's reiterated over the years, “I was born in '79” was a lie, but “I was attacked by a pet eel” was fact-checked by Nigel Kennedy.)
At some point in her late teens, she dropped the Teutonic surname and adopted the French ending of her given name (she made it a “LIE”! how poetic) to form the moniker “Emilie Autumn”. I assume that's also when she started privately going by Emilie / EA for short.
So there you have it. The damning evidence. A performing artist... changed her name. To her grandmother's name. Riveting stuff!
And to think that her fans could have carried on naively believing “Autumn” was her last name, or assuming it was a romantic nom de scène she picked during her Ren Fair phase. Or perhaps, even, not thinking much about her name at all, like normal people.
But nooo, she just had to poke the hornet's nest by making a whole thing out of it.

“MY ENTIRE FAMILY DIED IN A FIRE.”

If you've never encountered a method-acting con artist or a person who struggles with pathological lying (I'll let you decide for yourself which of these, if either, applies to EA), you probably believe that you'd spot them a mile away. And in my experience, that's exactly why you wouldn't! Whether it's compulsion or calculated strategy, successful fibbers rely on people's natural social cues (like their assumption of good faith, their confirmation bias, their empathy, their desire for validation, their fear of awkwardness, ...) to subtly direct the flow and tone of the conversation. This allows them to short-circuit potential questioning of their claims.
One such strategy, for instance, I call the “I-will-not-further-speak-about-the-incident maneuver”. Out of the blue, you drop a graphic and incisive one-liner about something horrific that happened to you, in a curt or flippant tone that throws the listener off and usually shuts them up – thus sparing you from having to back up your claim with any convincing specifics. I'm not saying that every person who does this is a liar. Horrific stuff does happen to people, and I'm not here to police how they're supposed to disclose it. I'm just saying that if you wanted to fabricate an obvious Tragic Backstory™ and smuggle it past otherwise rational, discerning and reasonably intelligent people, that would be one way to do it. Full disclosure: it does work better in person than it does over the internet, especially when you've kept a blog.
When EA curtly dropped this bomb on Twitter (in response to an innocuous fan question that mentioned her parents – the receipt has sadly been X'd out of existence), and every subsequent time a new fan found out about her family's tragic demise (“I had no idea!”), the response was typically one of shock and sadness – and, in a few heartbreaking cases, commiseration from other survivors of family-annihilating events.
Many fans already had a hunch that something was up with her family, of course. She hinted at neglect and possible abuse in her book and lyrics. A number of her fans also came from dysfunctional households, so her not wishing to elaborate on the topic would probably have been a non-issue. But now she's saying they're dead? All of them? In a FIRE?! Holy macaroni! And you know it must have been awful, because EA – the same woman who got a dozen bangers out of a three-month-long toxic relationship, and based over a decade of her work on one bad hospital stay – had never, not once, felt called to share a song or poem about how it might affect a person to... lose all of their entire immediate family to a fire. Hmm. Meanwhile, the handful of older fans who had been following her since Enchant and remembered her dad passing in 2004 gritted their teeth and rolled their eyes. “Do your research. That's all I can say.” (We'll get into the culture of censorship free speech regulation on the Asylum forum in due time.)
Before more and more embittered ex-fans started compiling and circulating the receipts in the early-mid-2010s, investigating the whole “dead family” thing was a lonely journey – a coming-of-age expedition for the critical-minded Plague Rat, trawling through free background check websites and old Wayback Machine archives, until you went “Welp, there it is, I guess” and suddenly felt older, stupider, and a little bit hollow inside.
Although I don't remember how I personally made my way to The Truth (lol) back in the day, I still have a vivid memory of the moment I found the Facebook profile of EA's Very Much Non-Deceased Mother. It was mostly posts about her costume design work. A few candid pictures with EA's siblings and their kids. Christmas, birthdays, a wedding. Just... aggressively normal stuff. It was bizarre, looking in on this family of cheerful strangers with familiar cheekbones. Knowing that, somewhere out there, was an estranged eldest daughter, who had run off years ago to become a fiddle-wielding rockstar – and was now passing them off as having all died a gruesome death, while her fans secretly stalked their family photos. (Because I know you'll be asking in the comments: yes, EA's family is aware. Her mother once posted a picture of young EA and her siblings on Pinterest, sarcastically captioned “After most of us were killed in the fire.” 📝)
Again, it's tempting to discount EA's remark as a metaphor for family estrangement, taken too literally by neurodivergent minors who just didn't understand performance art. Well. First of all, even as a metaphor... let's admit, once again, that that 2000s edginess has aged like fine milk. It's a little crass to make a “metaphor” out of a plausible, life-shattering trauma that other people actually have to live with. (Veronica lost a beloved house to a literal fire 🔍 during her tenure as a Crumpet, for instance; no one died, but that alone seemed pretty rough.)
But, more to the point, evidence suggests that EA also told this to real people in her real, off-stage life – such as her Trisol manager, who backed the claim on the official Asylum Forum in 2007. 📝 When questioned about this post on a renegade forum in 2013, he had this to say:

I was the fool in this case. EA made that up of course. It’s just one thing on a long list of things she made up. Let’s agree she’s very creative with facts if she wants people to believe a story. (...) I once had a short chat with [EA's mom] and I got the strong impression she wasn’t dead at the time. Haha.

(OK, dude, but did you or did you not sell fake EA tickets on a scammy website in 2008? Because we never did get the skinny on that.)
Fifteens years on, EA continues to insist, unprompted, that “the fire” destroyed her childhood drawings and baby pictures. 📝 This more recent Instagram post is like a Greatest Hits of her most notorious yarns, to a degree that's either premeditated trolling or a subconscious call for help. She casually, yet pointedly mentions her age in relation to a specific year... and specifically draws attention to the signature, one that she used well into the Enchant era. In doing so, she made me notice, for the first time, that the A blends into an F. As one could expect from an artsy, Renaissance-obsessed teenager, her OG signature was a freaking monogram for Emily Autumn Fischkopf. It's like “The Tell-Tale Heart” for the digital age! AM I THE ONLY ONE SEEING THIS?? 🦠

A BIT O' THIS & THAT: MISCELLANEOUS CLAIMS

Just for fun, here are other sundry “citation needed” facts that EA has claimed over the years. All are originally from the book unless sourced otherwise. Some of them may have been jokes, some of them might even be true! Whatever that word still means!

• She suffered near-fatal leukemia at age 2, but miraculously recovered. Doctors were baffled.
• She has perfect pitch and tone-color synesthesia. 🔍
• She also had a photographic memory before Ativan ruined it. That's how she remembers what the sky looked like on the day she came out of the hospital leukemia-free.
• It is well-known and well-established, among the bipolar community, that bipolar people all over the world will regularly and inexplicably wake up at 4 in the morning. 🎵 On the dot. No one knows why, but they do. Doctors are baffled.
• She can play the violin on horseback!
• The traumatic hospital stay happened before Opheliac until it happened after. 🔍 Doctors are time lords.
• TAFWVG “has been cited in text-books used as part of the psychology curriculum at Oxford University in London.” 📝 I would have intuited Oxford University to be in Oxford, but then again, I didn't go to Oxford.

ELECTRIC VIOLIN: UNPLUGGED

You know how whenever a musician starts behaving obnoxiously, old sages will come down from Mount Wisdom to advise disgruntled fans to “simply ignore [behavior]” and “just focus on the music”? Well, in the Asylum, “just focusing on the music” won't always preserve you from EA's shenanigans. This “claim” is a little different, but I've decided to include it because it is so odd, emblematic, and ultimately tragic. I also count it as “biographical”, because it involves a key tenet of EA's character sheet: the violin.
Being a kickass fiddler is one of EA's trademarks, and has always been central to her narrative; as of 2024, “world-class violinist” is still the first claim to fame she lists in the “Story” section of her official website. Which beggars the question: why won't she play it? And why won't she acknowledge that she's not playing it?
We got our hopes up in 2020, with that one post 📝 about her iconic 1885 Gand & Bernardel getting refurbished by a luthier – a thoughtful birthday surprise from her boyfriend – but despite the promising “More to come...” at the end of the caption, that turned out to be a false alarm. In truth, it may well have been over a decade since anyone has witnessed EA draw a single note from her cherished instrument.
The fact that Lord Autumn was able to sneak it out during lockdown without the Lady noticing tends to confirm that she hadn't been playing much behind the scenes. She seems to be under the impression that e-violin manufacturer Zeta is no longer in business (they did close down in 2010 🔍, but reopened under new management in 2012), which suggests that she hasn't been keeping up with the violin scene for a while. Besides, the fingernails don't lie. 🐀
As the live shows veered more theatrical with the release of Opheliac, the extended violin features from the Enchant era were cut to two main appearances per concert: “Face the Wall”, a seven-minute-short, Hendrixesque take on Arcangelo Corelli's “La Folia” – and “Unlaced”, an arpeggio-ed frenzy that was originally paired with a stilt-walking and ballet performance by the Crumpets. These two instrumental tracks remained a fixture on four successive tours. And on four successive tours, “Unlaced” was... well... clearly dubbed. 📺 She was holding her e-violin, her hands were playing the notes, but what was coming out of the speakers was indubitably the studio version.
There were possible explanations, of course. Some sound buffs pointed out that “Unlaced” has multiple violin layers, and that a live violin solo would have sounded harsh and unbalanced over the supporting tracks 🔍 – but then, why pick an unplayable song as a staple of the show?
The violin-miming wasn't even very hush-hush, she didn't try that hard to hide it – it was just never addressed or acknowledged. On “Unlaced”, Veronica was usually summoned to “play” the keyboard – and we knew that was make-believe, they had a whole skit about it. 📺 Ditto when EA would play the intro to a song, then get up from the keyboard as she started singing, and the harpsichord track just kept going. It was part of the theatrics, the suspension of disbelief; live playing just wasn't the focus.
Still, because playing two songs should have been in her wheelhouse, EA's choice to stand on stage and mime along with her own world-class violin skills was puzzling. We knew EA was capable of playing “Unlaced”: “Face the Wall” was proof enough that she could still shred like nobody's business, and some lucky fans got to hear her nerd out about pitch standards and rock some Bach at VIP showcases in 2011 (though it was always the same piece, and reportedly not always on point: “she made beginner mistakes, like weird jaw, wrist, elbow placement and tension...” 🐀). And sure, “Face the Wall” was an intense piece, but... it was one of two in the show. The same two, always. She was supposed to be classically trained...!
As EA's fabrications became more common knowledge among the fanbase, people took increasing issue with this odd staging choice – particularly after “Face the Wall” was retired partway through the 2011 tour, leaving only the pantomime, with nothing else happening on stage to distract from it. 📺 People started fixating on her constant and inexplicable tweaking of the truth. Fake name, fake age, fake promises, and now she was fake-fiddling and making a grand show of it? Was she outright mocking her audience, daring them to call her out? Milking a skill she had grown bored with, in the lowest-effort way possible, knowing that goo-goo-eyed fans would still pay to see it? Playing them the world's saddest song on the world's quietest e-violin?
The release of new album Fight Like a Girl in 2012 did little to soothe the Plague Rats' fiddle blues. The violin was much less prominent on FLAG than it had been on Opheliac and Enchant. There were almost no solos, which provided fewer opportunities for playing or miming on stage. “Unlaced” was retired from the touring setlist. One night in Texas during the 2012 tour, due to being on vocal rest, EA played the melody line of “Liar” on the violin. 📺 And that was pretty much the last time world-class violinist Emilie Autumn was heard playing her instrument, on stage or in recording – to the dismay of many fans who had loved her for it.

Can someone please grab this woman by her hand, lead her across her livingroom/bedroom/study, and point at that lonely forgotten dusty violin in a corner of hers so she remembers that she actually owns it? (🐀)

It was yet another bizarre, glaring inconsistency in EA's narrative that fans seemed expected to ignore. Another elephant in the padded room. (Personal anecdote that I don't have a receipt for: in early 2012, when I asked if there was a possibility of EA playing another baroque set for the VIP events on the upcoming tour, her then-manager responded that that wouldn't be possible because venues didn't have the proper acoustics.)
Through some her posts over the years , attentive fans pieced together the likely truth of EA's effective retirement as a violinist. It's actually quite sad, and may cast a different light on EA's artistic shift.
The 2011 tour was initially scheduled for late 2010. It was postponed because EA had been neglecting a jaw injury for years, and needed emergency surgery to avoid “serious and irreversible damage” to her one violin-holding jaw. 📝 She had the surgery early in September; in late November, she performed all over Latin America for six nights straight, and by January, she was back on tour. The same tour during which she made “beginner's mistakes” on the Bach partita, and retired “Face the Wall” for good after a few shows.
She underwent jaw surgery again in 2018, after three years of orthodontic treatment which she said had “prevented [her] from performing”. It was the first anyone was hearing of this (she said she hadn't been touring because she was writing the musical!), and it's as far as EA ever got in terms of half-addressing the obvious: that after dedicating a third of her time on Earth to her craft, after years of pushing through the pain night after night, rushing through recovery periods, and making compromises so the show could go on... she may not be physically able to play concert-level violin anymore.
Once again, something that should (and would) have elicited empathy and support from most fans turned into a point of frustration, speculation and mockery, for years – because EA continued to favor pretend-play and fantasy over the sobering, unglamorous truth. Well, at least everyone's unhappy.

CONTINUED IN COMMENTS

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I was an edgy preteen at the time so you bet this was the kind of thing I was watching.
Anyway, I believe I first saw this video around 2010-2012 on youtube, pretty short-ish runtime. It featured an emo kid, maybe 15-16, in his room demonstrating how to become a vampire or a demon- I don't remember exactly what he did but I remember drawing a sigil or something and placing a drop of blood on it. I feel like he might have been wearing glasses but I'm not sure. American accent I believe.
Any ideas as to what this could have been?
Honestly just want to laugh at how cringe I was for taking something like that so seriously that I was watching tutorials...

I like saying retarded as slang, as an edgy curse
I like saying "go suck a dick" as a sarcastic insult, "ur gay" as a sarcastic insult, and using the word "fag" but accompanied with some adjective. I like these expressions and I'm not homophobic. I'm just talking using the crass slang and idioms we all used back in 2010 internet
I like gamer rape jokes. I will use the word "rape" in reference to me killing an opponent on a video game or destroying a boss in a super over the top way. I am happy saying "I raped your ass" when beating you in a video game
If you have a problem with me engaging in any crass slang btw, you can go suck a dick
2000s "wordplay" was the best because you could turn any offensive subject matter or anything punchy into some kind of witty joke "insult". We should be accepting of that stuff equally to how we should respect each other's tastes in other things. Just because I say "ur gay" jokingly or "fag" jokingly doesn't mean I'm homophobic and i'd like you to respect that.

Looking back, the 2000s had an interesting treatment for 90s platformer mascots. They were either dropped completely (like Croc), given ill-made/ mediocre sequels from a changed company (Crash: Wrath of Cortex, Spyro: Enter the Dragonfly), or given edgy reboots (shadow the hedgehog). Meanwhile, Nintendo was giving us "mario sunshine" and "mario galaxy", with family-friendly aesthetics and faithful to its platforming roots. Was Nintendo just that strict and stubborn? Still had that much faith in mario? Were the American game companies the ones with the warped mindset? I don't think anyone in my (small rural) highschool even had a wii except me (2006-2010).

LittleBigPlanet is dead as we know it, a fourth game seems super unlikely and obviously we just received the news that lbp3 is gone last night, so I think to honor the occasion I should detail my experiences with the franchise
Somewhere between 2008-2010 my Dad bought me and my twin brother a PS3 with two games, WipEout HD Fury, and LittleBigPlanet, WipEout was a fun time don't get me wrong, but LittleBigPlanet was what really drew us in, I remember for what genuinely could have been a few months, we just replayed the introduction level over and over again, I think I was scared of the water bit in Get a Grip as a kid, but eventually we ended up playing the whole story, start to finish, and it instantly became my favourite game of all time, and still is to this day
I'd spend hours on end making silly little levels with my brother, we didn't have the internet for a while so it was just us making random stuff on our moon, but when we eventually got our Internet, we were blown away at some of the amazing and creative levels people had made, and this carried over into LittleBigPlanet 2
Around that time I'll admit, I fell head first into that emo phase everyone had, making edgy costumes and stuff, and I'll admit, that phase had a direct influence on my art style and how I dress, even to this day as an almost 20 year old, now Transgender girl
I'd play these really cool Forest, Hotel or Medieval RPG levels with random people through the dive in feature, I made tons of PSN friends, all of which I no longer know due to the switch to PS4 eventually, but those memories stay with me to this day
I didn't really have too much noteable experience with LBP3 but I'd like to talk now about the impact LittleBigPlanet had on me as a person
LittleBigPlanet wasn't just a game to me, as melodramatic as it sounds, it set me on a path of being a creative person, I gained an interest in drawing, and creating original adventures and stories, and now, at 19 years old, 20 next month, I'm a digital artist, working on an upcoming comic project, and will be attending university later this year to further pursue art, my twin brother was also set on a similar creative path, he is 2 years into a Game Design degree at the very same university, and we both still talk about and play LittleBigPlanet on the LBP Union custom servers to this day
Thank you for everything LittleBigPlanet

• Grimmzly

This anime use to come on comcast on demand back in 2010...the girls were in high school with this guy, they often all showed interest in him and i think he was connected to them in some way. they all had different color hair, blonde, blue, red...maybe purple and they had powers or secret identity of a fighter or hero. At some point they were suppose to ascend to the next level of their power but maybe struggled one by one. Theme song was very catchy like FMA: brotherhood. it was like 4 or 5 girls and 1 main guy all the time. The show was edgy too for 2010. My brain throwing out that it stats with a S, K F...

Taking a quick look at my sprawling perfume excel list, I realized that, as of today, I own 17 fragrances by JhaG - out of 22 that have been released since 2010. Yes, I don't have any arguments either. In my defense: Most of the fragrances in my possession are 2ml trial sizes, and some of them I scrounged up for free at a luxury perfumery in Düsseldorf. Most are from the €30 trial sets that inexplicably turn up on my doorstep every few months. What I'm trying to say: I'm delulu, but not quite as bad as I could be.
Juliette has a gun is a totally normal perfume brand that's all over Sephora in the US. In good ole' Germany it's a bit harder to get a hold of, but not as absurdly complicated as idk, Phlur or something (I had to order their discovery set from an exceedingly untrustworthy online store from the Czech Republic and I was seriously surprised that their test set actually arrived at my door and not, say, a severed horse head).
To share my knowledge and pass it on to the next generation (and most importantly to gain a handy overview for myself), I've decided to write my ultimate Juliette has a Gun review and pester you all with my opinions. So if for some inexplicable reason anyone is interested in a deep dive into the world of Cetalox, Ambroxan and ISO-E-Super: I've got you covered!
Quick note: This was originally written in german, so some jokes and cultural stabs might not translate as well. Sorry!
⬜💎🗨️ Not a Perfume
Cetalox®
Ah, Not a Perfume. Such a wonderfully stupid concept. Hardly any other... perfume? divides the minds of online fragrance forum participants as decisively as Juliette's dubious claim to fame. Some say it smells like super glue, others smell nothing at all, and a select few have the "Your skin, but better" effect. I belong to the latter group, but that's no credit to my super nose, it's simply a genetic advantage. The fragrance molecule interacts with the skin chemistry and creates an individual scent that (for me) smells simple, unobtrusive and clean. I get compliments surprisingly often when I wear NaP or layer it with another fragrance. To balance things off, I can't taste coriander.
Energy: Do you remember those pheromone perfumes that supposedly subconsciously seduce your preferred sex and literally force them to have sex with you? That, but in an office environment, and instead of sex there's a pay rise.
Grade: 2
⬜⬜💎💎🗨️🗨️ Not a Perfume Superdose
Cetalox® + Cetalox®
If you can't smell Not a Perfume, youll smell more of nothing here. So, more of the less? It's simply a higher concentration of Cetalox, and for some people this leads to their Eureka moment. For me, it lasts longer than the normal version, and that's it.
Energy: The long-suffering executive secretary of a busy board member who wants to melt into the background. When you try to visualize her facial features, you notice that you can't remember her.
Grade: 2+
⬜🍐💧Pear Inc.
Pear + Cetalox®
I'm extremely biased towards Pear Inc. because I had this fragrance with me on our honeymoon in Italy and only associate positive emotions with it. It comes closest to Not A Perfume conceptually, combining a very high level of synthetic fragrance with a hint of soft fruitiness from the pear. It is barely perceptible, more of a light, summery veil. And quite persistent! Even after a hike to Cascate Nardis, it was still on my skin when I jumped into the pool afterwards. At least I deluded myself into think that.
Energy: A luxurious hotel hallway in the Alps with thick, dark gray carpet that cushions every step. To the left, the stairs lead down to the wellness area, where fresh fruit water awaits next to the Roman steam bath. Straight ahead is the room, tastefully furnished with natural materials, where juicy apples and pears are provided every day. Life's good.
Grade: 1
🌹❄️⛓️Lady Vengeance
Rose + Cetalox®
My love, always. Feminine without being overwhelming. Not overly rosy or floral, but, surprise surprise, synthetic. The name is ridiculously out of place, a rose could not be more toothless. Perfect as an everyday fragrance, but I wouldn't dream of describing it as sexy or vampy or horny. Lady Vengeance lives in a very strange place: it doesn't scream, but the fragrance isn't quiet either. Quite strong fragrance notes, good sillage, but it's not overpowering. Despite the rather simple composition, it has its own identity, unlike Pear Inc. which is really just NaP plus pear. I always reach for it when nothing else can excite me.
Fun fact: Lady Vengeance was designed by none other than Francis Kurkdjian, and I can feel the vibe. It wouldn't be completely out of place in a MFK line up either. Perhaps a little more place-hunting, but we were all young and fake once. (Sidenote: Francis Kurkdjian also created Green Tea (Elizabeth Arden) and Miss Dior and about a hundred thousand other perfume staples? Sick.)
Energy: You need to shop/go to group therapy/organize community meetings, but only feel 80% turned on. Lady Vengeance doesn't turn your life around, but at least makes you feel 82%. Maybe even 83.
Grade: 1
⛱️🧂🥥Vanilla Vibes
Vanilla... and surprisingly no Cetalox®
A "classic" vanilla fragrance from JhaG, and according to the fragrance pyramid, completely free of synthetic fragrances. Somehow, perhaps through osmosis, the chemical DNA still comes through, characterized here by a suntan lotion accord. More precisely: suntan lotion in the flavor vanilla. Light and airy, very summery. Thanks to fleur de sel, we avoid the boring standard, Vanilla Vibes has a very pleasant and unique character. It is, thank goodness, not a vanilla bomb that causes headaches. Salty, seaside, like a day at the beach. Or better still, the walk home afterwards. Chilling out on the balcony with a view of the pool bar.
Energy: a beach bar made of white wood, the radio playing in the background and the salty sea air lingering on your skin. You've just reapplied sunscreen while watching the cool surfer dudes ride the waves.
Score: 2
🍳☀️🧍Sunny Side Up
Vanilla, but this time + Cetalox®
The way I would imagine a vanilla fragrance from JhaG: synthetic, but not in a bad way. Sillage and longevity are poor, but that's a positive, remarkable quality in a vanilla perfume. What this egg connotation is all about (the bottle is white with an yolk-yellow cap, plus the name) is not clear to me. Some reviews speak of an eggnog smell, but I attribute that to marketing-induced delusions. For me, it dances the 08/15 sandalwood-vanilla-musk ballet, but completely synthetic and therefore a bit weird, and I like weird, but here the cushy irrelevance dominates.
Energy: Tropical week at IKEA. A cheap white shelf with vanilla deodorant. Pale lack of character with the charm of a Palatine tax clerk (in german, that joke was great). Doesn't hurt anyone, but thats kinda it.
Grade: 3
🧁🍓🔥mmmh...
Cake and surprisingly no Cetalox®
mmmmh... and Lipstick Fever were the doomed attempts to break away from the Cetalox® DNA and launch two Gourmand fragrances. It has a bit of children's perfume energy, and both my husband and my best freind hate this scent with fervent devotion. I like the playfulness, I like the sultry, candied drydown. There's patchouli involved, and lots of it too. Longevity level: orgyproof. You can still smell the vanilla the morning after, and probably even after a long shower.
Energy: Your three-year-old niece wants to bake raspberry cake and rolls around in vanilla sugar when you're not looking. Afterwards, you have a one-night stand and no opportunity to shower beforehand. The fragrance accompanies both activities with the same level of enthusiasm.
Grade: 3+
✨👠💄Lipstick Fever
Lipstick and surprisingly no Cetalox®
Lipstick Fever is the scent that made me fall in love with Juliette has a Gun. What's our first idea when we move away from our well-tried Cetalox® nonsense? We make a fragrance that smells like lipstick! 10/10 concept, no notes. It's such an absurd take that you can't help but love this brand. For the uninitiated, lipstick has a very distinctive scent, especially older and more expensive brands smell like iris, vanilla and berries. Of course, each brand has its own scent, but JhaG has somehow managed to nail the lipstick association photo-realistically. I squeal with delight every time I smell it. It's so silly. It's so grandiose.
Energy: You unscrew a brand new MAC lipstick, the surface still shiny, the logo still embossed. The first time you've spent more than 3 euros on a make-up product and you don't regret a cent.
Grade: 2+
🍋🍸🧊Moscow Mule
Lime + Cetalox®
I have to write this review from memory. Because my tester of Moscow Mule has been empty for years. This fate is rare in my dragon hoard, and usually ends in buying the full size. The fact that I haven't done so yet has mainly to do with the cringy name. The more I think about it, the less I can think of a reason, because: Moscow Mule is a wonderfully fresh, unobtrusive citrus fragrance with lime, bergamot and ginger. Unisex, even! Absolutely no detergent vibes, which can easily happen with citrus fragrances. More like a homemade lime soda at a Vietnamese restaurant. I have nothing but good memories with this scent and oh god I'm going to buy it soon, aren't I?
Energy: An afternoon by the pool, but not an outdoor children's paddling pool, but in an expensive, exclusive spa where they serve cucumber-ginger water and nuts and dried fruit. And non-alcoholic cocktails. With a slice of lime.
Grade: 1
🧔🐺🌵Ego Stratis
Vague men's fragrance + Cetalox®
We haven't had a marketing controversy in a while, have we? In the year of the mistress 2022, unisex fragrances are now no longer a topic that causes great turmoil in the perfume world. They haven't really been since 1611 at the latest. JhaG sees it differently and has designed the entire advertising campaign for Ego Stratis around this outlandish concept: A... a...a.a...aquatic fragrance.... for... Women? Eh, no, for men AND WOMEN? But this is a men's fragrance! And WOMEN(!) are supposed to wear it? That's crazy. Look at them, this quirky niche perfumery brand, always on the cutting edge!
Well, Ego Stratis doesn't smell terrible. But it just smells like any run-of-the-mill men's perfume. Aquatic notes, neroli, cedarwood, yadda yadda. There's really nothing genderbent about it. I imagine a more subtle sweetness than Axe green, but the hint of fruitiness (blueberry?) is immediately crushed by the musk ox. You have to pay a pretty penny at JhaG to be allowed to wear a men's fragrance as a woman.
Energy: Axe shower gel, but make it high-fashion.
Grade: 3-
🍂🌒🧿Another Oud
Norlimbanol™ + Cetalox®
Ohhh, Romano has found a second reagent in his chemistry set! I giggle at my good joke as I aim the (very poorly designed) test diffuser at my arm. One spray and my pupils dilate. Oh. Oh.
Oud is a special fragrance composed of woody, smoky accords. It tends to be found more in men's perfumery and is very popular in Arabic perfumes. Together with norlimbanol, another woody fragrance molecule, it creates a very round, pleasant, warm fragrance. It has a distinct medicinal note, and I'm MEGA into it, but I can imagine it's controversial. Now THAT is a unisex fragrance! Much more androgynous than whatever Ego Stratis tried. I want to press my nose into it all day, it's that great. Oops, now it's accidentally ended up in husbands shelv, how could that have happened?
Energy: The most self-confident man at the gangbang.
Grade: 1
👔🚿🧼Musc Invisible
Cotton and surprisingly no Cetalox®
Mh, nothing is invisible here. It's the most penetrating clean laundry smell this side of the Speefuchs (thats, um... german Mr Proper, but as a furry). The invisible Elon smells more washed than my laundry. Soapy, slightly pungent, SoFt, ClEaN, nAtuRal, all the buzzwords. Heavy scented candle vibes, specifically Clean Cotton by Yankee Candle. Laugh at me, but I miss the cetalox. This fragrance simply has no identity at all. The reviews on Parfumo are all happy that it's so atypical for the top dog-synthetic-chemical-pants-jarring-Julia, finally no cetalox bomb. Yes, and that's why it sucks? If you want soft naturalness, go to Elizabeth Arden or roll around in the moss or something.
Energy: A good, German housewife (m/f/d) who hangs up her freshly starched, spotless white sheets on an alpine meadow and then lets Meister Proper fuck her.
Grade: 4
🌺🌼🌴Lust for Sun
Sun cream + Cetalox®
I don't need to mention how well JhaG executes the concept of "Nivea Sun Milk SPF 50", but the first sniff beams me straight to a bed castle in Can Picafort circa 1996. Mission accomplished. It's the summer scent of summer scents, and maybe I'm stupid, but I can even smell the panthenol for the sunburn afterwards. After the milky opening, the scent becomes brutally brute floral (that worked better in german: brutal-brachial floral) with ylang-ylang, monoï, gardenia and every other flower you can find in a well-stocked allergy specialty store. If I get a headache, that's saying something.
Energy: A very drunk and questionably legal teenager on the dance floor of the local village disco for SummerJam with DJ HouseKasper, where the vodka energy still costs 1.50 euros and everyone around her goes home with an inexplicable headache.
Grade: 3
🫧☁️➿Ode to Dullness
Skin cream + Cetalox®
JhaG was apparently in his Nivea era in 2023, because Ode to Dullness is inspired by the creamy nothingness of the best skincare for anyone unfamiliar with Kaufmann's children's cream. Well, not that it smells like Nivea (we don't want to get sued), it's more of a cloudy lotion vibe. General skincareness. It doesn't create much of a scent, but I smelled myself at the newly opened supermarket and was pleasantly taken with it every time. Soft, pleasant, clean, unspectacular. It is supposed to depict the comfortable wasteland of everyday life and yes, I can subscribe to that. Doesn't have to be a bad thing.
Energy: You almost bite the head off an extremely slow-moving lady in the supermarket who stops right in front of you to study her shopping list, but then a cloud of fragrance caresses you and you remember that it's not that deep.
Grade: 2-
🍑✨👄Magnolia Bliss
Youllneverguess + Cetalox®
After so many tragic attempts to do anything different with the DNA of Juliette has a Gun, Magnolia Bliss is a welcome return to its roots. It's dumb fun, artificial until the day after tomorrow, a little childish, floral and fruity and synthetic and feathery. The floral magnolia isn't so much in the foreground, I primarily notice the peach/mirabelle/apricot jamminess. Orange Cat Behavior, but as a perfume. Just as many brain cells, too.
Energy: peach rings meets nail polish remover.
Score: 1-
🍒❌🚬Juliette
Cherry + Cetalox®
According to the marketing material, Juliette is supposed to be the culmination of 15 years of perfumery artistry, the ultimate statement of the brand, its identity in a nutshell, an iconic fragrance for all time. Ironically, Juliette is completely free of the JhaG DNA. What's this stuffy seriousness in my synthetic bomb brand? Are we at Maison Francis Kurkdjian here or what? Confident Complexity my ass. I want Lost Cherry, but in stupid! Mh, okay, that's already Lost Cherry. But I thought JhaG, like every self-respecting perfume house about four years ago, had finally come out with its own cherry gum variation. But I was bitterly disappointed. Or rather, peppery disappointed. Juliette is strangely dark and edgy, the pepper surprisingly dominant. The cherry quickly fades away - it's only here for marketing purposes, after all - before the cashmeran, jasmine and cetalox doze off into their twilight years. Boring.
Energy: None.
Grade: 3

I used to watch a lot of shoujo in middle school but i transitioned into BL so I havent seen too many shoujo anime honestly. i wanna get back into it so i just rewatched "Say 'I Love You'" and as I remembered, twas wholesome.
Ive always heard great things about Maid Sama so i decided to give it a shot and BOY OH BOY do i feel like im in for a ride.
ive just finished the first episode and i can definitely tell im watching a 2010 anime xD the animation caught me off guard, everything moves so fast. its like they just colored the manga panels and put them in a flip-book. The opening song was very pop and girly and what THREW ME WAS THE ENDING SONG??? LIKE WHY IS IT SO EDGY ?!?!? got me cackling. pls tell me the ending song makes sense later bc bro 😭
Also i just love Usui's character. bros so funny 10/10 love him
p.s. watching it in sub bc older anime english voice acting can be physically painful i swear

I remember it having a kind of edgy name, like Dark Something or They Something the Something. I may have played this around 2009-2010. I downloaded it onto my laptop and only played a few minutes because it scared me enough to quit.
It was an indie Zombie Survival game from Isometric view but unlike PZ, there was a lot more emphasis on the horror and atmosphere. The start menu and loading screen had scary looking splash art with weird drone noises and I think cryptic text over the loading screen.
There were different classes of zombies including a Siren Variant that screams loud enough to stun the player and draw more zombies.
I remember TVTropes describing it as "You expect a regular zombie survival game only to enter eldritch horror(?)"

I listened to (part of) the show today for the first time in a long time. I can't really put into words how disappointed I am. Stop worrying about saying the wrong thing and pissing someone off!
Exact opposite of when I started listening, it was edgy and counter-culture. Now it sounds like everything else. Jeremy is absolutely unbearable, Mike has changed and takes himself WAY too seriously, just relax and have fun!
Dude, it feels like everyone involved is walking on eggshells at every moment. Uncomfortable and awkward, the way they used to make me feel while listening, which is why I listened! Now, it's because they're afraid of offending whomever.
Be yourselves, that's the key. Please, bring back the show I love. Just relax and have fun. If you say something that offends someone, apologize and move on, it'll be fine.
I say this as a fan since 2010 and a gay man who has loved y'all for years. You're losing fans because you're way too worried about saying the wrong thing.

Hi guys,
There is a rock song from my teens that is lately in my mind but I can't for the love of God remember the lyrics or fiind it in YouTube. The lead voice is a man, from around the 2010's. It's kinda slow with the chorus being the rock part, maybe a little on the "edgy" side (as most rock music from then, lol). I am trying my luck here, maybe someone can make sense of some of the lyrics I do remember.
The chorus is something like this: "You're the... That I... Can you hear me?" (this part is screamed)
I know it's very little, but perhaps someone knows what I am blabbering about and can help a fellow redditor out. Thanks guys!
UPDATE: Guys, the song came into my mind by a miracle, omg. And I was extremely, terribly wrong about the lyrics, lol.
The song is Monster by Starset https://www.youtube.com/watch?v=Bq6IuZIJhuI
Thanks to anyone trying to help me <3

For some days, I was trying to find a flash game where you are a samurai with a Katana that gets stronger with the blood of your enemies. I remember it having upgrades/skill tree and was kinda like those games where are a whole army of soldiers against an overpowered protagonist.

2000 - This year is that one year everyone argues about. No one knows if they're Zalpha or Z. In my opinion, I gatekeep them to be Early Z with Zillenial traits and let them consider themselves as Zillenial or Early Z.
2010-2012 - Second most gatekept years after 2000. These middle schoolers are something no one agrees about, and edgy freshmen(2009 borns) love to gatekeep them despite not realizing they're literally like a few months older and share similar childhoods.
1997 - They are Zillenial for sure, but are they Millenial or Z border? I'd say Z since they barely remember 9/11, never had all 6 of their childhood years without the phone, and graduated high school when Instagram, Snapchat, and YouTube were popular.
Now for the least gatekept
2008 - I am genuinely convinced no one even gatekeeps this year. This is the least gatekept Gen Z year. I swear there is 0 controversy, everyone knows it's Core/Late Z.
2005 - This is also one of the least gatekept years. Like 2004, it is perfectly in the middle of the Generation, boasting Core Z all the way.
2003 - Another less gatekept year. I just don't see much controversy among these "cool guys". They magically have both their childhood and their teenhood having 4 years of both in the 2010s.
1998 - If everyone argues on 1997 being Gen Z or Millenial, 1998 is always gonna be the Zillenial leaning Z, no gatekeeping happens around this year.
2001 - Being the last to graduate high school before COVID and being born before 9/11, these guys are clearly Early Z and there is nothing saying they're Core Z, having many lasts and are the last year to have the 2000s as their main childhood instead of the 2010s. Not Zillenial though since they only had one year of childhood pre iPhone.