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2009.09.29 03:17 o7i3 Guitar Lessons
A subreddit dedicated to learning guitar. Post lessons, ask questions, and get feedback on your playing on Feedback Fridays. The community is open to all people of all styles!
2011.07.03 05:36 Gangsta_Raper GifSound
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2024.05.29 02:27 Mrmander20 [Vell Harlan and the Doomsday Dorms] 4 C8.1: The Doomsday Dad
At the world’s top college of magic and technology, every day brings a new discovery -and a new disaster. The advanced experiments of the college students tend to be both ambitious and apocalyptic, with the end of the world only prevented by a mysterious time loop, and a small handful of students who retain their memories.
Surviving the loops was hard enough, but now, in his senior year, Vell Harlan must take charge of them, and deal with the fact that the whole world now knows his secrets. Everyone knows about Vell’s death and resurrection, along with the divine game he is a part of. Now Vell must contend with overly curious scientists and evil billionaires hungry for divine power while the daily doomsday cycle bombards him with terrorists, talking elephants, and the Grim Reaper himself -but if he can endure it all, the Last Goddess’s game promises the ultimate prize: power over life itself.
[Previous Chapter][Patreon][Cover Art]
The last few notes of a Roxy Rocket song echoed through Vell’s dorm, and while scrappy and dissonant, they were at least coherent. An improvement from early lessons, especially.
“Well, that didn’t hurt to listen to,” Skye said. “You’re making progress.”
“You have such a way with words,” Vell said.
“Okay, fine,” Skye said. “You’re actually making good progress for a guy who only finds time to practice every couple weeks.”
The ever-encroaching responsibilities of being a senior, the leader of the loopers, and the focus of a godly game of fate had whittled Vell’s free time down to almost nothing. The occasional guitar lessons were some of his only islands amid the storm, and a welcome excuse to spend more time with Skye.
“You want to try a few more chords?”
“My hands are starting to hurt, actually,” Vell said. He pulled away from the guitar strings and shook tense fingers loose, revealing fingertips rubbed red and raw by practice. Skye stepped forward and took him by the wrist to examine his hands.
“I do not understand how a guy like you doesn’t have thicker skin,” Skye said. “Weren’t you an actual cowboy for a while? You did rodeos and everything.”
“I wore gloves,” Vell said.
“And for the rest of the weird shit you’ve done in your life?”
Vell took a long pause.
“Yeah, I don’t know,” Vell said. “Good genes, I guess.”
“I’m not complaining, mind you, I just think-”
A loud dinging sound from Skye’s purse interrupted the conversation, and she released her grip on Vell to go answer her phone. Vell recognized those familiar chimes as the Dad Ringtone. While most contacts were set to vibrate, Skye’s father and a few other lucky high-priority contacts got their own ringtones. Vell was lucky enough to have his ringtone set to the theme song of a cartoon Skye had loved as a kid, but played at a much lower volume than the Dad Ringtone. Skye’s father didn’t call often, and when he did it was usually about something important, so she wanted to be sure to never miss a call.
“Hey dad,” Skye began. “No, now’s fine. What’s up?”
Vell set his guitar back on the shelf and relaxed while Skye continued the call.
“No, no, that’d be fine, great, even,” Skye said. “He might be a little busy, but- What?”
Skye’s delight and talking to her father shifted to mild concern.
“Dad we kind of need to- no, not tomorrow, dad,” Skye said. “Dad!”
A long silence followed as Skye held the phone frozen by her ear for a short time. She tucked it back into her purse, took a deep breath, and clapped her hands together as she spun to face Vell.
“So, good news, you’re going to get to meet my dad,” Skye squeaked.
“And the bad news?”
“Well, part one of the bad news is that it’s going to happen tomorrow,” Skye said. Vell would’ve like a little more notice, but that was far from disastrous. Part two was still waiting, though. “And part two is that I kind of maybe didn’t do a very good job describing the nature of our relationship, and he sort of a little bit thinks you’re...a hero.”
Vell waited for a part three, and there was none.
“Is that the bad news?” Vell scoffed. “I might let him down a little, but there’s worse things my girlfriend’s dad could think of me.”
“Yeah there’s definitely a few upsides, be sure to hold on to those,” Skye said. “But also, you know how I flunked out of mad scientist school?”
“Yeah?”
“Well my dad...didn’t.”
***
“Your girlfriend’s dad is a supervillain?”
“Former supervillain,” Vell corrected. He adjusted the suit coat he’d just put on. “He left the game after she was born and went white hat, now he only builds death rays and robot armies so relevant authorities can observe, learn, and prepare for the real deal.”
Having a genuine mad scientist to train with helped keep secret agents and spies ready for actual threats, and Skye’s father got to keep doing what he loved: threatening to blow up the world.
“Are you still really a supervillain if you don’t actually do any villain shit?” Hawke wondered aloud. “Isn’t he just sort a supertrainer? What would you call that?”
“I’d call it asinine,” Alex said. “We shouldn’t be condoning this behavior, much less inviting him to build a death ray on our campus.”
The Einstein-Odinson had been selected as the faux-mad scientist’s next testing ground, and due to a misunderstanding of his role on campus, Vell had been selected as his testing partner. He had to put on a tuxedo and everything, to better fit the classic secret agent trope Skye’s father was envisioning.
“Mad scientists are an important part of the scientific ecosystem,” Helena said.
“You’d know,” Samson muttered under his breath.
“Conflict breeds innovation,” Helena continued, either heedless to or deliberately ignoring his snide comment. “The arc of history requires both heroes and villains.”
“Yeah, well, as far as villains go, I prefer mine to be weird old dads with fake death rays,” Kim said. “Still, Vell, doesn’t it feel kind of weird that he doesn’t actually know you’re dating his daughter?”
“It’s fine,” Vell insisted. “It’s always awkward trying to talk to your parents about your relationship, and she just over-focused on me saving the day and helping people. Simple miscommunication.”
“And when are you resolving that miscommunication?”
“Later,” Vell said. “Skye and her dad don’t get to spend much time together anymore. They’ll take the day, and we’ll get this all sorted out later.”
A life of volcano lairs, alpine bases, and remote tropical islands did not exactly make it easy for Skye to keep up with her dad, so having him concoct a scheme right on her home turf was a good way for the two of them to spend time together. Right now, Vell’s only priority was allowing for some healthy father-daughter bonding time. And also preventing the apocalypse.
“Okay, I’m good to go,” Vell said, as he finished up the knot in his bow-tie. “Hawke, ready on comms?”
“Mission control good to go, Agent Harlan,” Hawke said. He enjoyed any apocalyptic arrangement that allowed him to stay safely behind a chair, but playing mission control was especially fun.
“Good. Samson, you’re on tech duty,” Vell said. “The rest of you, keep an eye on the island. There’s no guarantee our supervillain will actually end the world. Which feels like a weird thing to say.”
Big events usually invited big catastrophes, and a literal supervillain seemed like a prime spark for some apocalyptic fire, but Vell was not so sure. He couldn’t think of anything less likely to actually end the world than a deliberate attempt to do so. All the loopers agreed having some backup eyes on other potential disasters might be warranted.
“Let’s just get this over with,” Alex said. She was the first to leave, everyone else filtered into their respective roles to play soon enough. Samson walked alongside Vell as he left the lair.
“Hey, do I have to put up the whole mission control act like Hawke was doing?”
“Not if you don’t want to,” Vell said. “Play it up a little if Skye’s dad is around, maybe, but like, right now we can just talk normally.”
“Okay, cool. Got your shit right here,” Samson said, as he hefted a large bag of gadget. “Standard spy bullshit. Gizmo watch, secret cufflink radios, pen with a concealed laser cutter, got it all right here.”
“Thanks,” Vell said. “Where’d you find all this stuff?”
“I just asked,” Samson said with a shrug. “Island full of supergenius weirdos, most of them had this kind of stuff just lying around.”
“Convenient. Did you make a list of everyone you got this stuff from?”
“So we can keep an eye on them? Yeah.”
“So I can give it back later,” Vell corrected. “But yeah, actually, knowing about the laser pen guy might be a good idea.”
“We’ll know where to start with any laser-based apocalypses,” Samson said.
“Good instinct,” Vell said. The two of them walked out of the building and towards the docks. “Am I walking weird? I’ve never worn a tux before.”
“Little stiff, but I think it’s working in your favor. You look more serious.”
“Great, thanks,” Vell said. He stepped up to the edge of the docks and strapped on his gadget watch before checking the time on it. “Should be here soon.”
“You need me to stick around?”
“No, you’re good,” Vell said. “Thanks for the help.”
Samson excused himself before the chaos started in full. Vell felt like an idiot standing around in a tux for a minute or two, until he was joined by someone in an equally odd outfit. Skye joined him in waiting on the docks, wearing a dress with long sleeves and a short skirt over sparkling tights and some very high-heeled boots.
“Very gogo dancer,” Vell said.
“Yeah, dad’s really into that whole Cold War era 60’s style,” Skye said. “Apparently this is what a ‘proper villainess’ looks like to him.”
“Could be worse, could be the catsuit kind of female villain.”
“Ugh, don’t get me started,” Skye said. “Every time he took me to work conferences I had to watch grown women try to waddle around in pleather bodysuits.”
“Supervillains have conferences?”
“Oh yeah, surprisingly good ones,” Skye said. “Especially if you’re a little girl who likes genetically engineered sharks.”
“Oh, so that’s where you got your start.”
Skye nodded. Her penchant for genetic engineering had struck at an early age. Her father had initially been excited for her to get into the family business, but it turned out Skye just liked fucking with fish DNA, and didn’t have much skill in all the non-genetic engineering parts of mad science. He was proud of her anyway.
After shifting on uncomfortably high heels for the umpteenth time, Skye checked her phone and texted her father.
“He says he’s pulling up right now,” Skye said. Vell scanned the horizon and saw nothing coming across the ocean.
“Is he at the right-”
Vell was cut off, and forced to step back, as the ocean started to churn. The waves parted to reveal a jet-black submarine with a towering, jagged skull carved into the prow.
“Oh, right, supervillain,” Vell said.
The imposing submersible drifted to a halt, and a hatched on the side hissed open. Red lights beamed out from the darkness within, and a few seconds later, an armored killbot marched down a boarding ramp, flanked by a towering man in a long white labcoat. He had a jagged streak of black through his otherwise gray hair, and wore heavy glasses with thick black lenses that obscured his gaze and shadowed his face.
“Hi dad,” Skye said.
“Hello dear,” said the man behind the murder machine. He stepped off the boarding ramp onto the dock, as another killbot exited to flank him, and fixed his dark glasses on Vell. “And as for you...I am Doc-”
“Doc” stopped his imposing introduction to have a coughing fit. Skye stepped up and put a hand on his shoulder.
“Dad, did you take your meds today?”
“I did, I did,” the Doc said, between coughs. “Just a climate thing. I got on the damn submarine in Seattle, now we’re in the tropics, there’s pressure differentials, humidity.”
He let out a few more coughs and then cleared his throat loudly, before regaining his previous composure.
“Now, as I was saying,” he continued. “I am Doc Ragnarok!”
His boisterous shout failed to echo in the open air of the docks.
“Oh, good lord, that was terrible,” Doc Ragnarok said. “Can I try again?”
“I wouldn’t bother,” Vell said. “We’re by the beach, open air, the acoustics are terrible.”
“Oh, yes, you’re right,” Doc Ragnarok agreed. “Finally, someone who appreciates the details. You must be Vell, then, or is it Agent Harlan? Do you have a codename I should be using?’
“It’s just Harlan. Vell Harlan.”
“Yes, Skye has told me quite a bit about you,” Doc said. “You’ve escaped kidnapping attempts, outwitted undead thieves, stolen secret treasures.”
“Oh, he’s, uh, also a really nice guy, very helpful, top student,” Skye said, laying groundwork for the eventual boyfriend reveal.
“I expect nothing less,” Doc Ragnarok said. “I can’t begin to tell you how excited I am to face off against someone with real credentials again, Mr. Harlan. For the past few decades it’s been nothing but greenhorns using me as a test run, well-trained but no experience, no sense of style.”
“Well, I am nothing if not experienced,” Vell said. “Stylish, however...well, this tuxedo is a rental.”
“I can tell,” Doc Ragnarok said. He let out a single boisterous bark of delighted laughter. “Ah, look at us, already bantering. I missed this.’
Doc cleared his throat again and regained his ominous supervillain demeanor, as he snapped his fingers to make the killbots flank him.
“I must begin my preparations,” he said, in a voice shockingly distinct from his earlier conversational tone. “Challenge me if you dare.”
“Excuse me a moment,” said a voice somewhere behind the killbots. Doc snapped his fingers, ordering the crowd to part again, and Helena hopped forward on her crutches. Skye glanced at Vell curiously, and he shrugged in confusion. She wasn’t supposed to be here, for multiple reasons.
“Can I help you?”
“Yes, I was just reading your book earlier, ‘Practically Evil: A Guide to Classic Villainy’,” Helena said. “It’s a great read, but what really stood out to me is the section on classic henchman archetypes, specifically ‘The Igor’?”
She held up the book in question, which Vell noted had a picture of Doc Ragnarok holding a skull on the cover, and opened it to the section in question.
“Oh yes, I understand, completely,” Doc Ragnarok said. “As I said in the section opener, that information is presented for historical context, and I strongly condemn the typecasting of differently-abled persons like yourself into such roles. Regardless of my intent, I’m sorry if I caused any offense, and if you have feedback-”
“Oh, no, you misunderstand, I’m not offended, I’m actually intrigued,” Helena said. She turned the book around to quote a specific passage. “‘An outcast, often hunchbacked or otherwise misshapen in such a way to make them a pariah, physically handicapped but mentally gifted, driven to evil by the harsh treatment of judgmental peers’. I think it’s a very fitting role for me, and I’d love to give it a try.”
Vell had several very strong opinions about that, but kept all of them to himself.
“Well, it’s a bit short notice, but I’ll never discourage anyone from following the path of evil,” Doc Ragnarok said. “And this is a training exercise, after all, perfect time for you to train. Come along, minion! The more the merrier!”
Doc Ragnarok snapped his fingers again, and the killbots fell in line, this time with Helena in tow. A procession of smaller robots followed, carrying a worrying number of power cores, ray guns, and mutagens. Not for the first time, Vell began to wonder if this was a good idea. The recurring doubts got obliterated as Skye looked over her shoulder and winked. She was worth a lot more trouble than this.
submitted by Mrmander20 to redditserials [link] [comments]
Surviving the loops was hard enough, but now, in his senior year, Vell Harlan must take charge of them, and deal with the fact that the whole world now knows his secrets. Everyone knows about Vell’s death and resurrection, along with the divine game he is a part of. Now Vell must contend with overly curious scientists and evil billionaires hungry for divine power while the daily doomsday cycle bombards him with terrorists, talking elephants, and the Grim Reaper himself -but if he can endure it all, the Last Goddess’s game promises the ultimate prize: power over life itself.
[Previous Chapter][Patreon][Cover Art]
The last few notes of a Roxy Rocket song echoed through Vell’s dorm, and while scrappy and dissonant, they were at least coherent. An improvement from early lessons, especially.
“Well, that didn’t hurt to listen to,” Skye said. “You’re making progress.”
“You have such a way with words,” Vell said.
“Okay, fine,” Skye said. “You’re actually making good progress for a guy who only finds time to practice every couple weeks.”
The ever-encroaching responsibilities of being a senior, the leader of the loopers, and the focus of a godly game of fate had whittled Vell’s free time down to almost nothing. The occasional guitar lessons were some of his only islands amid the storm, and a welcome excuse to spend more time with Skye.
“You want to try a few more chords?”
“My hands are starting to hurt, actually,” Vell said. He pulled away from the guitar strings and shook tense fingers loose, revealing fingertips rubbed red and raw by practice. Skye stepped forward and took him by the wrist to examine his hands.
“I do not understand how a guy like you doesn’t have thicker skin,” Skye said. “Weren’t you an actual cowboy for a while? You did rodeos and everything.”
“I wore gloves,” Vell said.
“And for the rest of the weird shit you’ve done in your life?”
Vell took a long pause.
“Yeah, I don’t know,” Vell said. “Good genes, I guess.”
“I’m not complaining, mind you, I just think-”
A loud dinging sound from Skye’s purse interrupted the conversation, and she released her grip on Vell to go answer her phone. Vell recognized those familiar chimes as the Dad Ringtone. While most contacts were set to vibrate, Skye’s father and a few other lucky high-priority contacts got their own ringtones. Vell was lucky enough to have his ringtone set to the theme song of a cartoon Skye had loved as a kid, but played at a much lower volume than the Dad Ringtone. Skye’s father didn’t call often, and when he did it was usually about something important, so she wanted to be sure to never miss a call.
“Hey dad,” Skye began. “No, now’s fine. What’s up?”
Vell set his guitar back on the shelf and relaxed while Skye continued the call.
“No, no, that’d be fine, great, even,” Skye said. “He might be a little busy, but- What?”
Skye’s delight and talking to her father shifted to mild concern.
“Dad we kind of need to- no, not tomorrow, dad,” Skye said. “Dad!”
A long silence followed as Skye held the phone frozen by her ear for a short time. She tucked it back into her purse, took a deep breath, and clapped her hands together as she spun to face Vell.
“So, good news, you’re going to get to meet my dad,” Skye squeaked.
“And the bad news?”
“Well, part one of the bad news is that it’s going to happen tomorrow,” Skye said. Vell would’ve like a little more notice, but that was far from disastrous. Part two was still waiting, though. “And part two is that I kind of maybe didn’t do a very good job describing the nature of our relationship, and he sort of a little bit thinks you’re...a hero.”
Vell waited for a part three, and there was none.
“Is that the bad news?” Vell scoffed. “I might let him down a little, but there’s worse things my girlfriend’s dad could think of me.”
“Yeah there’s definitely a few upsides, be sure to hold on to those,” Skye said. “But also, you know how I flunked out of mad scientist school?”
“Yeah?”
“Well my dad...didn’t.”
***
“Your girlfriend’s dad is a supervillain?”
“Former supervillain,” Vell corrected. He adjusted the suit coat he’d just put on. “He left the game after she was born and went white hat, now he only builds death rays and robot armies so relevant authorities can observe, learn, and prepare for the real deal.”
Having a genuine mad scientist to train with helped keep secret agents and spies ready for actual threats, and Skye’s father got to keep doing what he loved: threatening to blow up the world.
“Are you still really a supervillain if you don’t actually do any villain shit?” Hawke wondered aloud. “Isn’t he just sort a supertrainer? What would you call that?”
“I’d call it asinine,” Alex said. “We shouldn’t be condoning this behavior, much less inviting him to build a death ray on our campus.”
The Einstein-Odinson had been selected as the faux-mad scientist’s next testing ground, and due to a misunderstanding of his role on campus, Vell had been selected as his testing partner. He had to put on a tuxedo and everything, to better fit the classic secret agent trope Skye’s father was envisioning.
“Mad scientists are an important part of the scientific ecosystem,” Helena said.
“You’d know,” Samson muttered under his breath.
“Conflict breeds innovation,” Helena continued, either heedless to or deliberately ignoring his snide comment. “The arc of history requires both heroes and villains.”
“Yeah, well, as far as villains go, I prefer mine to be weird old dads with fake death rays,” Kim said. “Still, Vell, doesn’t it feel kind of weird that he doesn’t actually know you’re dating his daughter?”
“It’s fine,” Vell insisted. “It’s always awkward trying to talk to your parents about your relationship, and she just over-focused on me saving the day and helping people. Simple miscommunication.”
“And when are you resolving that miscommunication?”
“Later,” Vell said. “Skye and her dad don’t get to spend much time together anymore. They’ll take the day, and we’ll get this all sorted out later.”
A life of volcano lairs, alpine bases, and remote tropical islands did not exactly make it easy for Skye to keep up with her dad, so having him concoct a scheme right on her home turf was a good way for the two of them to spend time together. Right now, Vell’s only priority was allowing for some healthy father-daughter bonding time. And also preventing the apocalypse.
“Okay, I’m good to go,” Vell said, as he finished up the knot in his bow-tie. “Hawke, ready on comms?”
“Mission control good to go, Agent Harlan,” Hawke said. He enjoyed any apocalyptic arrangement that allowed him to stay safely behind a chair, but playing mission control was especially fun.
“Good. Samson, you’re on tech duty,” Vell said. “The rest of you, keep an eye on the island. There’s no guarantee our supervillain will actually end the world. Which feels like a weird thing to say.”
Big events usually invited big catastrophes, and a literal supervillain seemed like a prime spark for some apocalyptic fire, but Vell was not so sure. He couldn’t think of anything less likely to actually end the world than a deliberate attempt to do so. All the loopers agreed having some backup eyes on other potential disasters might be warranted.
“Let’s just get this over with,” Alex said. She was the first to leave, everyone else filtered into their respective roles to play soon enough. Samson walked alongside Vell as he left the lair.
“Hey, do I have to put up the whole mission control act like Hawke was doing?”
“Not if you don’t want to,” Vell said. “Play it up a little if Skye’s dad is around, maybe, but like, right now we can just talk normally.”
“Okay, cool. Got your shit right here,” Samson said, as he hefted a large bag of gadget. “Standard spy bullshit. Gizmo watch, secret cufflink radios, pen with a concealed laser cutter, got it all right here.”
“Thanks,” Vell said. “Where’d you find all this stuff?”
“I just asked,” Samson said with a shrug. “Island full of supergenius weirdos, most of them had this kind of stuff just lying around.”
“Convenient. Did you make a list of everyone you got this stuff from?”
“So we can keep an eye on them? Yeah.”
“So I can give it back later,” Vell corrected. “But yeah, actually, knowing about the laser pen guy might be a good idea.”
“We’ll know where to start with any laser-based apocalypses,” Samson said.
“Good instinct,” Vell said. The two of them walked out of the building and towards the docks. “Am I walking weird? I’ve never worn a tux before.”
“Little stiff, but I think it’s working in your favor. You look more serious.”
“Great, thanks,” Vell said. He stepped up to the edge of the docks and strapped on his gadget watch before checking the time on it. “Should be here soon.”
“You need me to stick around?”
“No, you’re good,” Vell said. “Thanks for the help.”
Samson excused himself before the chaos started in full. Vell felt like an idiot standing around in a tux for a minute or two, until he was joined by someone in an equally odd outfit. Skye joined him in waiting on the docks, wearing a dress with long sleeves and a short skirt over sparkling tights and some very high-heeled boots.
“Very gogo dancer,” Vell said.
“Yeah, dad’s really into that whole Cold War era 60’s style,” Skye said. “Apparently this is what a ‘proper villainess’ looks like to him.”
“Could be worse, could be the catsuit kind of female villain.”
“Ugh, don’t get me started,” Skye said. “Every time he took me to work conferences I had to watch grown women try to waddle around in pleather bodysuits.”
“Supervillains have conferences?”
“Oh yeah, surprisingly good ones,” Skye said. “Especially if you’re a little girl who likes genetically engineered sharks.”
“Oh, so that’s where you got your start.”
Skye nodded. Her penchant for genetic engineering had struck at an early age. Her father had initially been excited for her to get into the family business, but it turned out Skye just liked fucking with fish DNA, and didn’t have much skill in all the non-genetic engineering parts of mad science. He was proud of her anyway.
After shifting on uncomfortably high heels for the umpteenth time, Skye checked her phone and texted her father.
“He says he’s pulling up right now,” Skye said. Vell scanned the horizon and saw nothing coming across the ocean.
“Is he at the right-”
Vell was cut off, and forced to step back, as the ocean started to churn. The waves parted to reveal a jet-black submarine with a towering, jagged skull carved into the prow.
“Oh, right, supervillain,” Vell said.
The imposing submersible drifted to a halt, and a hatched on the side hissed open. Red lights beamed out from the darkness within, and a few seconds later, an armored killbot marched down a boarding ramp, flanked by a towering man in a long white labcoat. He had a jagged streak of black through his otherwise gray hair, and wore heavy glasses with thick black lenses that obscured his gaze and shadowed his face.
“Hi dad,” Skye said.
“Hello dear,” said the man behind the murder machine. He stepped off the boarding ramp onto the dock, as another killbot exited to flank him, and fixed his dark glasses on Vell. “And as for you...I am Doc-”
“Doc” stopped his imposing introduction to have a coughing fit. Skye stepped up and put a hand on his shoulder.
“Dad, did you take your meds today?”
“I did, I did,” the Doc said, between coughs. “Just a climate thing. I got on the damn submarine in Seattle, now we’re in the tropics, there’s pressure differentials, humidity.”
He let out a few more coughs and then cleared his throat loudly, before regaining his previous composure.
“Now, as I was saying,” he continued. “I am Doc Ragnarok!”
His boisterous shout failed to echo in the open air of the docks.
“Oh, good lord, that was terrible,” Doc Ragnarok said. “Can I try again?”
“I wouldn’t bother,” Vell said. “We’re by the beach, open air, the acoustics are terrible.”
“Oh, yes, you’re right,” Doc Ragnarok agreed. “Finally, someone who appreciates the details. You must be Vell, then, or is it Agent Harlan? Do you have a codename I should be using?’
“It’s just Harlan. Vell Harlan.”
“Yes, Skye has told me quite a bit about you,” Doc said. “You’ve escaped kidnapping attempts, outwitted undead thieves, stolen secret treasures.”
“Oh, he’s, uh, also a really nice guy, very helpful, top student,” Skye said, laying groundwork for the eventual boyfriend reveal.
“I expect nothing less,” Doc Ragnarok said. “I can’t begin to tell you how excited I am to face off against someone with real credentials again, Mr. Harlan. For the past few decades it’s been nothing but greenhorns using me as a test run, well-trained but no experience, no sense of style.”
“Well, I am nothing if not experienced,” Vell said. “Stylish, however...well, this tuxedo is a rental.”
“I can tell,” Doc Ragnarok said. He let out a single boisterous bark of delighted laughter. “Ah, look at us, already bantering. I missed this.’
Doc cleared his throat again and regained his ominous supervillain demeanor, as he snapped his fingers to make the killbots flank him.
“I must begin my preparations,” he said, in a voice shockingly distinct from his earlier conversational tone. “Challenge me if you dare.”
“Excuse me a moment,” said a voice somewhere behind the killbots. Doc snapped his fingers, ordering the crowd to part again, and Helena hopped forward on her crutches. Skye glanced at Vell curiously, and he shrugged in confusion. She wasn’t supposed to be here, for multiple reasons.
“Can I help you?”
“Yes, I was just reading your book earlier, ‘Practically Evil: A Guide to Classic Villainy’,” Helena said. “It’s a great read, but what really stood out to me is the section on classic henchman archetypes, specifically ‘The Igor’?”
She held up the book in question, which Vell noted had a picture of Doc Ragnarok holding a skull on the cover, and opened it to the section in question.
“Oh yes, I understand, completely,” Doc Ragnarok said. “As I said in the section opener, that information is presented for historical context, and I strongly condemn the typecasting of differently-abled persons like yourself into such roles. Regardless of my intent, I’m sorry if I caused any offense, and if you have feedback-”
“Oh, no, you misunderstand, I’m not offended, I’m actually intrigued,” Helena said. She turned the book around to quote a specific passage. “‘An outcast, often hunchbacked or otherwise misshapen in such a way to make them a pariah, physically handicapped but mentally gifted, driven to evil by the harsh treatment of judgmental peers’. I think it’s a very fitting role for me, and I’d love to give it a try.”
Vell had several very strong opinions about that, but kept all of them to himself.
“Well, it’s a bit short notice, but I’ll never discourage anyone from following the path of evil,” Doc Ragnarok said. “And this is a training exercise, after all, perfect time for you to train. Come along, minion! The more the merrier!”
Doc Ragnarok snapped his fingers again, and the killbots fell in line, this time with Helena in tow. A procession of smaller robots followed, carrying a worrying number of power cores, ray guns, and mutagens. Not for the first time, Vell began to wonder if this was a good idea. The recurring doubts got obliterated as Skye looked over her shoulder and winked. She was worth a lot more trouble than this.
2024.05.29 00:51 YoungParisians The Wise Guys: A 10-Page Celebration of Steely Dan - Mojo Magazine, April 2024
 | submitted by YoungParisians to SteelyDan [link] [comments] |
2024.05.29 00:38 brycek0 Pokémon theme solo
 | I play guitar and do random nostalgic covers. Not long ago I did the Pokémon theme solo 😎 lmk what you think! submitted by brycek0 to Pokemonart [link] [comments] |
2024.05.29 00:34 brycek0 What’s new Scooby-Doo cover
 | I play guitar and do stupid nostalgic covers and other random stuff; a while back I did the what’s new Scooby-Doo theme! 🔎 lmk what you guys think! submitted by brycek0 to Scoobydoo [link] [comments] |
2024.05.28 19:51 A6ap3 Appreciation of RM's Right Place, Wrong People
It's been so long since I did any analysis of RM's music, the last time I was fifteen and so so depressed. RM has grown as an artist while I grew as a person, in a way it's so personal that every time he comes up with new music, even if it's been long since I really liked BTS music, I just have this ich in my fingers asking me to write down my thoughts. With Right Place, Wrong People I just can't hold myself, Indigo almost made me write my thoughts down in this sub (because that album was made for me, an art theory nerd) but this new album???? Man, I've got things to say. So, sorry for babbling, here are my thoughts:
Before talking about the content, lyrics, and general thoughts, I need to mention and study all the great artists working with RM on this album. First and foremost, San Yawn from Balming Tiger literally could be called the co-creator of this album. Another member of Balming Tiger, bj wnjn, also appears in the credits of a few songs. In the chorus in Dodomachi, you can see the best example of his influence because he's the one who sings it. The sounds, gimmicks, and the way most of the songs in the album are pierced together really feel like Balming Tiger, if anyone is a fan of them you know what I mean. Check them out, they just recently came out with an incredible album: January Never Dies. And for some song recommendations, if you really liked the theme in LOST! in Right Place Wrong People, you will love UP!.
Some other great artists work in production, OHHYUK (from HYUKOH) is the producer of Come back to me, and it really shows. I desperately ask you to go listen to HYUKOH's albums if you liked that song cause, man, that song could have fooled me if you told me it was theirs. Mokyo too, recently has been working with a lot of artists and coming out with really creative stuff, so please check him out (and go listen to Vampire, that song is just pure perfection). Going back to Come back to me, Kuo from Sunset Rollercoaster worked in it too and the guitar in the song really shows it. Check Sunset Rollercoaster too, they deserve a lot more love from the k-rock lovers. Supremeboy, even if he only appears in (I think) the credits of out of love, deserves always the love and respect from old fans of RM, so shout out to him too.
The really rich mixture of sounds and genres in the album really makes me think once again of Indigo, but this time it feels so different. In Indigo RM took a lot of inspiration from the sound of this artist but the message was less introspective in his lyrics than in Right Place Wrong People, now the mix with this artist really mixes so deeply the introspection in the lyrics with the sound. And really, the appreciation we should have for those who worked with RM in the production and writing of the album should be pointed out in bold letters and neon, cause it's fundamental to understand the whole meaning and message of the album, to the understand it's conception.
In the album, RM talks primarily about how he's perceived and how that affects the person he's come to be. It's a beautiful introspection on how others interact and convince him, and how that has affected him, and how he interacts with people. On the one hand, you can see the real symbolism that is the mix of RM's introspection with the people he collaborated with. Most people only look up to the features when we talk about the mix of different artists sounds, but in Right Place Wrong People, the symbiosis of RM's compositions it's with those that he's featuring and with those that work with him in production. See Dodomachi, he's featuring Little Smizs (I promise you I was shocked to see he was collaborating with her, go check out her last album Drop 7, it's GOLD), he collaborates and mixes his sound and lyrics with hers perfectly, but at the same time it's in the production and the choruses where what shines it's the work of bj wnjn, with his distinctive singing and those lyrics heavy where we can hear a more hollow and dark feeling in the "Friend, let's dance here", really showing the true heaviness of dislike for the life of partying he's been pushed to by those called friends. the mix of sounds, the collaboration of other people's voices (this time the right people in the right place) it's what gives the extra layers and deepness to RM's new album.
On the other hand, RM's introspection feels old and comforting for an old fan. I remember when Mono came out and how much I loved (and I still love) Seoul. Listening to this new, older, Namjoon I can't help but see in this new tone the comeback of the idea he presented once:
PD2: I posted this before but deleted when I was told there was a megathreat for the album, but I think it's a bit too long and counts more of analysis than reaction or discussion of the album? so someone told me I could post it as it one and I agree, if you see this hope work went well!
submitted by A6ap3 to kpopthoughts [link] [comments]
Before talking about the content, lyrics, and general thoughts, I need to mention and study all the great artists working with RM on this album. First and foremost, San Yawn from Balming Tiger literally could be called the co-creator of this album. Another member of Balming Tiger, bj wnjn, also appears in the credits of a few songs. In the chorus in Dodomachi, you can see the best example of his influence because he's the one who sings it. The sounds, gimmicks, and the way most of the songs in the album are pierced together really feel like Balming Tiger, if anyone is a fan of them you know what I mean. Check them out, they just recently came out with an incredible album: January Never Dies. And for some song recommendations, if you really liked the theme in LOST! in Right Place Wrong People, you will love UP!.
Some other great artists work in production, OHHYUK (from HYUKOH) is the producer of Come back to me, and it really shows. I desperately ask you to go listen to HYUKOH's albums if you liked that song cause, man, that song could have fooled me if you told me it was theirs. Mokyo too, recently has been working with a lot of artists and coming out with really creative stuff, so please check him out (and go listen to Vampire, that song is just pure perfection). Going back to Come back to me, Kuo from Sunset Rollercoaster worked in it too and the guitar in the song really shows it. Check Sunset Rollercoaster too, they deserve a lot more love from the k-rock lovers. Supremeboy, even if he only appears in (I think) the credits of out of love, deserves always the love and respect from old fans of RM, so shout out to him too.
The really rich mixture of sounds and genres in the album really makes me think once again of Indigo, but this time it feels so different. In Indigo RM took a lot of inspiration from the sound of this artist but the message was less introspective in his lyrics than in Right Place Wrong People, now the mix with this artist really mixes so deeply the introspection in the lyrics with the sound. And really, the appreciation we should have for those who worked with RM in the production and writing of the album should be pointed out in bold letters and neon, cause it's fundamental to understand the whole meaning and message of the album, to the understand it's conception.
In the album, RM talks primarily about how he's perceived and how that affects the person he's come to be. It's a beautiful introspection on how others interact and convince him, and how that has affected him, and how he interacts with people. On the one hand, you can see the real symbolism that is the mix of RM's introspection with the people he collaborated with. Most people only look up to the features when we talk about the mix of different artists sounds, but in Right Place Wrong People, the symbiosis of RM's compositions it's with those that he's featuring and with those that work with him in production. See Dodomachi, he's featuring Little Smizs (I promise you I was shocked to see he was collaborating with her, go check out her last album Drop 7, it's GOLD), he collaborates and mixes his sound and lyrics with hers perfectly, but at the same time it's in the production and the choruses where what shines it's the work of bj wnjn, with his distinctive singing and those lyrics heavy where we can hear a more hollow and dark feeling in the "Friend, let's dance here", really showing the true heaviness of dislike for the life of partying he's been pushed to by those called friends. the mix of sounds, the collaboration of other people's voices (this time the right people in the right place) it's what gives the extra layers and deepness to RM's new album.
On the other hand, RM's introspection feels old and comforting for an old fan. I remember when Mono came out and how much I loved (and I still love) Seoul. Listening to this new, older, Namjoon I can't help but see in this new tone the comeback of the idea he presented once:
If love and hate are the same words /I love you, SeoulBack then the music is very conciliatory, and acceptance of change. That has changed, in Indigo we see a brief development on this idea with Change pt. 2:
Love change, friends change, everyone change, no, yeah / It is not strange, hmm, that's the world's shape, aye / You gotta admit it, hmm Don't you get it still? / Someday, a great grief will do come for you, hmm, yeahThe song, while being in Indigo, has the same type of violent emotion that connects more with Right Place Wrong People than with the album it's in. It refers to things that connect with songs like LOST!...
Ay, ay, ay, ay (Dump it on the ground, shit) / Ay, ay, ay, ay (Dump it on the ground, shit) / I keep trippin', I can’t stop bleeding / I got lost in the ground, but not beggin' at youIt refers to things that connect with songs like LOST! while also being the stage in between Mono and Right Place Wrong People. The three albums together can be read as the stages of the being of RM, the acceptance of what he was back in 2018, what his art is in 2022, and who he is in 2024. Right Place, Wrong People, as much as you can talk about it being an album of songs giving the middle finger to people, is (for me) an album about RM, how he's now as a person, and how that relates to the people around him and love. For me is an album about love and being oneself openly, and aggressively. It's love connected with pain, "pain divine". It comes back to Seoul and the connection with love and pain, how Seoul and RM's soul were the same, and how he has grown with that deep pain and love. What once was a song written with the calm acceptance of this, in Right Place Wrong People we see how this understanding has grown and RM just can't keep pretending he's not this, someone built by pain and love. In Come back to me we see it:
You are my pain, divine, divine.A song, talking about someone that's not there for him anymore, connects with this idea RM has been working with for so long in his music, that his soul is built with pain and love. But now he's not only accepted it, but he's confident in it. You can see this in Nuts, where he compares the love between him and others with elements of danger, while also assuring the person that he doesn't wish to change things to be with them, he "can make this place right for" them.
It was a tough relationship, there's a stigma on my chest / It's called you, I can't even believe we were together /It was a flu, and we could see the karma coming throughRM works around the concept of being built by pain and love, and turns it into the concept of painful love. He works around this idea in this album with these two songs especially, but you can see it in others like Around the world in a day with Mosses Summey:
We who are lost don't look so pitiful / Now with a smile, raising the middle finger / Yeah, all the past, the present / I'ma pass, then give it to you / I like myself broken, b!tch, that's the sh!tI think the more interesting line in this song is the one that goes "My appearance like a lost item hoping to be found / We who are lost don't look so pitiful / Now with a smile, raising the middle finger", and it really connects these songs I've talked about with the rest of the songs in the album, the ones that as he says is a "raising the middle finger" to those that criticize him, in those that expect him to be someone different. This theme is maybe more prevalent, you see it in Out of love or in Dodomachi. In one he says it directly, referring to the (dumb if you ask me) scandal with the picture of him smoking with these lines:
I'm just a pack of cigarette / I'm going to burn down all the love and the hate, the right, the wrongs / Even the goddamn world I've been livin' in for my whole life / Smoking kills, I know / It's my business, you bitches stop, don't talk shit / Ashes falling like snow / I've been changin' the flowIn Dodomachi he uses singing, the dark pessimistic voice of bj wnjn to talk about how he's being pushed by those who call themselves his friends to change, to be what people would expect of an artist as famous as he is, to make him forget who he was before:
I been slipping through all kinda b*llsh*t, I forgot where I came from / All s*ckers wanna get it, take a sip, silently pour it into the glass / All the s*ckers wanna hit it, I'ma lead you to the heaven, blow the flute / All my friends wanna get around in O's, all my friends wanna take another pose / Yeah, I'm knocked out, what a bullsh*t (Get the f*ck down) / Muhf*cka, want a doom sh*tAnd while I could continue for days writing my ideas on this album, I think I should conclude (I have an exam tomorrow I should be studying instead of doing this, I blame you Kim Namjoon for my laziness) with what this all concludes in the album. It's called Right Place, Wrong People and that's because of good reason. What comes out of all the ideas RM presents in the songs is one big concept: the confidence of who he is, with the pain and the love that has built him, and how he just doesn't care to conform to those that not understand this and want him to be someone else. From Seoul to Right Place, Wrong People, he shows how not only he has accepted who he is (pain and love) but he also doesn't care if others don't accept him. I think the best examples of this are in ? (Interlude), and Heaven.
You know you got the best of me / Do you know me? / I don't mind at allThis album is one of self-love, introspection, and knowing oneself, to not only accept to be confident in those things painful in one. To give a middle finger to those who want to change him and to those who criticize him for not conforming to the cruel world of fake image, violence, and stardom. It's a beautiful conclusion to ideas he has worked with in BTS and with his early works as a soloist, going as back as 2017 when he asked to be told "everything is alright" in Change with Wale. I think is beautiful how all these ideas have changed and morphed and matured with him, going from:Baby, tell me that we gon' someday stop the fight
And tell me that every, everything gon' be alright / Oh tell me who's stupid, baby, is it me or them? / Just tell me who's insane, baby, is it me or them? / In this crazy world after patience, could we get the pearl?to...
There are so many unlucky bastards in the world / So what? Just keep going your own way / There are so many incomprehensible bastards in the world / I just step on it harder, just step on it harder / Yeah, I fuck it up, I fuck it up / Hate is harmful but I suck it up /Now I'll go the other way, to the cliff (...) Just lower your eyes, so don't provoke me / If you want to be friends, just pour me a drink, you dig?PD: I wrote so much, god, and I haven't studied a bit. Going to stay up all night. Wish me luck guys! And go listen to RM's new album and all the others artist that worked with him!!!!!!
PD2: I posted this before but deleted when I was told there was a megathreat for the album, but I think it's a bit too long and counts more of analysis than reaction or discussion of the album? so someone told me I could post it as it one and I agree, if you see this hope work went well!
2024.05.28 18:05 SuitableImplement845 Taytay's Bizarre Dating History
Part 1: Bad Blood
https://www.youtube.com/watch?v=DwPWGUhEtP0
submitted by SuitableImplement845 to travisandtaylor [link] [comments]
- Our story begins with an album called Taylor Swift, an [originally] 11 track album where she sings about six boys: Drew Dunlap (Tim Mcgraw; Our Song), Jordan Alford a.k.a the one Swift will tell her friends 'is gay' (Pictures to Burn),Drew Hardwick (Teardrops on My Guitar; Invisible), some unnamed dude (Cold as You), random crush (Stay Beautiful), and Sam Armstrong (Should've Said No). This album, according to wikipedia, was recorded in 2005 (when she was 15; 16 on December 13th).
- In 2008, Taylor Swift accused Joe Jonas of breaking up with her in a 27 second phone call. Taylor also accused Joe of cheating with Camilla Belle ("She's better known for the things that she does on the mattress"). Jonas had a different story:
- In 2023, Jonas tells Dax Shepard on his podcast, Armchair Expert, that he and Swift are 'cool' and that he doesn't want beef with the Swifties.
- In late 2023, Taylor Swift inserts herself in Joe's divorce drama (while 'happily' dating Travis Kelce), taking Sophie Turner's side -- a woman Swift hadn't seen in years; Sophie was never part of the girl squad and never had a public dinner with Swift pre-divorce. Post-divorced, Swift is papped having dinner with 3 friends, including Sophie, who have all dated Jonas brothers: Gigi Hadid (Joe) and Selena Gomez (Nick). Oh, and Pat Mahome's wife was there too.
- In 2009, a boy named Lucas Till escapes her wrath by being boring. He claims it went nowhere because they never fought.
- In 2009, Taylor Swift (19) dates Taylor Lautner (17). They break up in December. Throughout 2009, Swift had become close with John Mayer (daddy issues)...while she was with Lautner. https://people.com/music/taylor-swift-john-mayer-relationship-timeline/
- Taylor Lautner, after the Taylor break-up, went on to marry...Taylor. Huh. Taylor is oddly close with Taylor and Taylor. I'm sorry, but that's just weird. I sincerely hope it was a PR stunt. Nothing wrong with being cordial to an ex, but being bffs and hiring him in a music video -- an ex who never stops talking about your old relationship decades later and marrying someone with your name -- just seems odd.
- In January 2010, Swift and Mayer become official. After they break up, Swift writes 'Dear John' about Mayer, while he writes 'Paper Dolls' about Swift, accusing her of being '22 girls in 1' and 'unaware of what she's running from.' In retrospect, he read her.
- It is said Cory Monteith, Chord Overstreet, and Zac Efron went on a date with Swift, but luckily for those men nothing came from it. This probably happened sometime between 2009-2011. I'll give her the benefit of the doubt and guess it was in the month long breaks between her relationships.
- Swift writes 'Enchanted' about Adam Young after knowing him for 10 minutes.
- Apparently had something with Martin Johnson while making 'Two is Better Than One'.
- In 2010, she dates Jake Gyllenhaal (again, daddy issues) for 3 MONTHS. She would go on the sing about him for 13+ years (see: The Manuscript) and make a short film about him 4 years into her relationship with Joe. It must've been good.
- Swift (21) befriends Conor Kennedy (17) a few weeks after his Mother's suicide. As soon he turned 18 (he was still in High School), they begin dating. Within 5 weeks, Swift's people bought her a property in Conor's neighborhood. Relationship ends October 2012 when Conor understandably freaks the fuck out and realizes he's dating female Patrick Bateman. It's worth noting Swifties consider a 19/20 year old adult to have been groomed by Mayer and Gyllenhaal , but nobody really talks about Conor for some reason.
- From November 2012 to January 2013, Taylor Swift is with Harry Styles. I'm not sure what else to say here, except the relationship must've effected her because she stayed single (publicly) for a whopping 2 years.
- Swift has a very public, 15 month relationship with Calvin Harris. She posts multiple pics of Calvin and herself on IG. She describes her relationship with Calvin as 'magical'. It seems as if she's finally found... the love of her life!!!
- Taylor Swift cheats on Calvin Harris with Tom Hiddleston. They officially start dating in May 2016. Hey, isn't May 2016 when Taylor attended the Met Gala and met Jo...
- On another note, it's stated in TTPD that Swift wanted Matty Healy to swoop in and rescue her from Calvin.
- Swift and Hiddleston break up in September. The reported reason for their break up? Swift didn't want to go public with him, despite constantly being in IG photos and staged pap pics with the man.
- Swift responded with Getaway Car and mocked him in the Look What You Made Me Do music video. Tom, meanwhile, called Taylor a lovely woman and said they had been in love.
- For 6/7 years, Taylor Swift was in a relationship with Joe Alwyn. Despite breaking up with Hiddleston because Swift wanted a low profile relationship, there's a narrative that Swift was upset Alwyn tried to avoid saying too much about Taylor in public.
- It is reported Joe and Taylor break up in April 2023. In May 2023, she is reported to be dating Matty Healy. In June 2023, it is reported she and Matty broke up. People magazine claims it was "always casual" https://people.com/taylor-swift-matty-healy-break-up-split-7508332 (cue Curb Your Enthusiasm theme).
- Cososom paints a narrative that 'the decade had played her and Matty for fools' and that she 'changed lovers (Harris, Hiddleston, Alwyn) to escape him'.......when the fuck was Matty Healy in the picture between 2015-2021? I honestly don't know the lore. Am I missing something? Is this a retcon?
- It is revealed Matty Healy has a small dick, he's terrible in bed, he's a druggy, he has a bad suit. Oh, and he smells like poopy!
- August 2023: It is reported Kelce and Swift are hanging out, but sources continue to deny it (probably the same source that claimed Healy and Swift were casual).
- Remember when she broke up with Hiddleston because she didn't want to go public after 5 months of dating?
- Kelce and Swift give two contradictory accounts of how they started dating: in his WSJ interview, he says someone played cupid. In her POTY interview, Swift says she saw him on the podcast.
- E.T. claims "both their parents see an engagement coming sooner than later"
- It is currently May 28th, 2024. Between Eras and Football season, Kelce and Swift have approximately spent 75 days together.
https://www.youtube.com/watch?v=DwPWGUhEtP0
2024.05.28 17:34 EducationalExtreme61 Why is it hard to hear actual instruments in contemporary pop?
Hi y'all, I can't help but notice that pop is mostly produced by synths. Why is that so?
If you listen to a 70s disco most instruments (guitars, drums, bass) would be recognizable, but nowadays unless it's something themed (country pop, rock inspired etc) you'd just hear synths. It also created a contrast with live performances with an actual band because the songs might sound different.
submitted by EducationalExtreme61 to popheads [link] [comments]
If you listen to a 70s disco most instruments (guitars, drums, bass) would be recognizable, but nowadays unless it's something themed (country pop, rock inspired etc) you'd just hear synths. It also created a contrast with live performances with an actual band because the songs might sound different.
2024.05.28 16:29 mehakarin69 My first matchup. I've decided to be cringe and be proud of it. murder!sans vs cross (dusttale vs xtale) ashes to ashes, dust to dust
 | Character connections. •both were once normal people before the suffering they went through •both of them are victims of reality manipulating people (murder!sans and the human, and cross with xgaster) •both did horrible things to achieve their goals (murder!sans doing his own genocide route to overpower the human. Cross invading different aus to gather code so he can bring his world back) •both have determination •both of them have impeccable taste in drip. I mean just look at them! •both talk to ghost (murder talks to phantom papyrus, a hallucination murder has to cope with killing his own brother. Cross talks to xchara, he's with cross due to having half a dt soul) submitted by mehakarin69 to DeathBattleMatchups [link] [comments] Dialogue potential Murder can call cross a madman and deluded, pretty much projecting his own self hatred on cross. In return cross can call murder a hypocrite and a pathetic sack of bones who failed everyone he loved and cared about. Other than that cross would likely also call murder a freak for talking to himself. Fight potential Both fighters are great at melee and ranged combat. Cross has his hack knife, murder uses his hands or a sharp bone. Both fighters are incredibly durable, agile and wont hesitate to go for the kill. Murder has a lot of brute strength on top of that too. Since murder only fights other aus if absolutely neccessary he would be on the defensive and try to reason with cross. Once he realizes cross aint backing down, he would fight at full strength. Murder can use his sheer speed and brute strength to his atvantage, punching cross so hard it sends him flying, or murder trying to strangle him, knee him in the face and more. While cross would attack him with his hack knife, or just use much more refined fighting moves, since he has actual royal guard training while murder just has hundrets of resets of experience instead, wich is good for fighting the human, and killing the monsters in his timeline as efficiently as possible, but not that great at fighting someone who is completely new. All in all murder!sans and cross are both very good at melee and ranged. Theme song name: "the murderer and the x-event". The theme is essentially and argument between the two. Cross' sections use electric guitars and violins, murder's sections have an edm like beat, along with with the instruments of his official theme. The chorus of the song uses a combo of both and the lyrics talk about the fact only one of them is walking out of this fight alive. Intro: core!frisk is visiting murder!sans, telling them about the fact cross is going around aus, stealing code. And that he should try not to shatter cross monster half of his soul since it belongs to classic sans. Cross arrives on dusttale, core leaves and the fight begins. Ending 1 (crossed out): cross uses a gaster blaster to attack murder. He walks away, thinking he's dead. But murder is still alive, even though he's injured. He restrains cross with blue magic, taking out half of cross' soul (since it's just half a dt soul now murder's fighting a weak xchara). Murder then lifts chara high into the air and summons a gaster blaster behind him. The blaster eats chara, and then explodes since murder fired it while the blaster's mouth was closed. After that the underverse gang arrives, murder gives classic his half of the soul and walks away. Ending 2 (murdering the murderer): cross uses a gaster blaster to blast murder, but instead dodges the attack. Cross then sneaks up behind murder and stabs him in the chest, zeroing his hp. Murder then just accepts his death, walking away from the fight as he dies. By the time the underverse gang pulls up all they'll see is a pile of dust on the snow, and cross leaving. Ending 3 (unresolved conflict): cross uses a gaster blaster to attack murder. Murder counters it with one of his own. A dbz style beam clash happens, the blasters explode knocking both of them back. The underverse gang arrives, ready to fight cross, but instead he leaves. While the gang pursues him murder just goes to grillby's to clear his head. |
2024.05.28 11:07 Destrezea Impressions from a CBT1 Player
 | For reference, I played a significant amount of the first Closed Beta Test for Wuthering Waves. This has probably been done from the perspective of people who were in both, but maybe not from the perspective of someone who was only in one. I was capable of playing the second, but ended up being incapable of finding the time to do so. submitted by Destrezea to WutheringWaves [link] [comments] I have yet to reach further than Act 1, I believe, of the story, maybe Act 2, but the game hasn't done an exceptional job of communicating that, either. For ease of understanding my position, the most recent major activity I partook in was placing Scar in jail. There may be spoilers for the near beginning of the game, but quite frankly, they won't be necessary. There may be things that coincide with my version of the plot from the first Closed Beta that coincide with current events. Take everything I say about the first Closed Beta's story with a grain of salt, as it underwent significant overhauls. They will not be spoiled. GameplayIn this regard, it's a complete upgrade. There were very few shifts, mind you, but from everything I've played so far, it's basically just a smoother version of the first beta. It's extremely smooth, it feels crispy, and I think the only major problem I've begun to run into is simply scaling problems with how some of the enemies function.If I had to point out complaints it would simply be in telegraphing and readability. When I get hit, I'd much prefer if I knew what I was getting hit by, but there are many circumstances where I'm not capable of figuring out that information reliably either due to the projectile that was shot at me being too small to notice, or because the attack animation just didn't reliably convey what was going on. The camera has also been a point of frustration due to the soft lock system. While attacking, it forces your camera into a specific perspective. I'm uncertain if this is able to be changed in the options menu or not. Otherwise, however, it's been a blast simply when I'm allowed to play the video game. Dodging feels satisfying, parkour feels fun, the puzzles are decent enough for the most part (though could still use more variety). Story & AtmosphereTangentially related to each other, I think it's best to include them both in the same category. The story and atmosphere, at least earlier on, is... laughable, to say the least. But quite frankly, the first beta wasn't free of this critique, either. So, for clarity's sake, I'll lay out how I felt about it, first.While I think it had every possibility to be effective at every turn, its complete nonsense pacing, and also perhaps the lack of voice acting and animations for a large majority of the game, neutered any sense of weight or severity it had. Its ideas were solid sometimes, but it rarely gave itself the ability to expand on them in any meaningful way. This is what I listed in all of my surveys, too. However, they've overcorrected in the complete opposite direction in the full release (and likely the 2nd beta test that I never participated in, not that it would have changed much). The pacing just... drags. On and on and on, characters are just sitting around, and aren't necessarily talking. They're just spewing random exposition at me about the current objective, and frankly, I don't care, and more importantly, don't even want to know a vast majority of the information they keep shoving down my throat. Certain elements from the game, such as Scar and his organization alongside the Sentinel,while poorly conveyed in the first beta, are mysteries that are solved slowly. Meanwhile, in the full release, they basically infodump the entirety of their existence from someone else, and then proceed to infodump more. It's absurd and extremely annoying, and leaves so little to the imagination. The worst that the changes do, though, is they severely hamper the atmosphere that I was personally invested in. The game went from a group of people who scarcely talked, but at least had something to develop from (relationships starting frayed with certain characters like Chixia and Baizhi, while Yangyang acts as something of an anchor) to suddenly everyone having a wink and a nudge to how nice they're being. It's baffling, but more importantly, is annoying. I enjoyed the plot significantly more in concept from the perspective of someone who no one really knows about, and everyone may even be wary of at first. It makes the relationships that do develop significantly sweeter, and in the process of changing it to make everyone just... nicer, it's hampered almost all of their character. Baizhi might as well just not have a character anymore, whereas Chixia and Yangyang are basically the same person at this point. There used to be something to develop from, and their motivations were treated as genuine and interesting. Now, they're all just nice and nicer, with only a few exceptions. The first beta had an atmosphere that felt intrinsically hostile. Urgent and dangerous, and that in spite of the fact that I'm someone with exceptional anime powers, it never hurt to have a bit of caution. I enjoyed how it reinforced how people thought. I think the most egregious change on this front so far, though, has been the change to the Crownless cutscene. While a partial joke, they completely gutted his introduction. He felt imposing, sudden, and exceedingly powerful. He completely bodied the other characters, leaving only Rover to deal with him. The duel felt a bit more personal, but also much more dangerous in the process. The cutscene was long, he felt important to defeat. And in gameplay, it was reflected, too. Now, it's been replaced with a half-baked boss fight alongside a lukwarm cutscene that barely lasts fifteen seconds and has almost no choreography. It's extremely saddening, because it went from one of my favorite moments, to one of the most forgettable. The MusicThe actual quality of the music is extremely up and down. Most tracks are decently composed, with good rhythms, and I don't dislike listening to them. Some tracks are completely forgettable, on the other hand, and I barely remember ever hearing them.Music coincides with atmosphere very closely, and the choice of music was important in contributing to the feeling of the first beta. Sometimes the choices were very unique and felt special. Nothing felt too out of place, perhaps except the forest area's music. On the contrary, I feel like a lot of the music in the full release can end up making areas feel more forgettable due to more generic themeing. One of the most prominent examples was my favorite area in the first beta. The Flaming Sea, Port City of Guixu, or Incineraur, as it was initially called, had a very specific track that I felt really evoked the best image it could from that zone. For reference, the song still exists. It's able to be found as the Donglu Research Station theme. It plays in-game, almost insultingly, directly outside of The Flaming Sea. In the first beta, it played from within. And seeing the ruined buildings and the way the monsters simply existed and spawned within, exploring it to its fullest extent even before defeating Inferno Rider for the first time, was a real piece of magic that a game hasn't given me in a long time. It felt som melancholic and destitute, and felt very somber. It got changed to something, comparatively, much more generic. There's a lot more tension in the area, and it sounds creepier, but it's completely lost the sadness and bleakness that was once there. Replacing the initial interesting electronic vibes are brass instruments that suggest a showdown with a maniacal villain. It... works. But it's much less interesting, in my opinion. It's a really strange decision, in my opinion, and I wish they'd left some of the tracks alone. It just doesn't make sense to me to change it so drastically for what feels like no reason. This is doubly as important, though, because I feel as though Kuro's in-house team is, perhaps, a touch inexperienced at times. Maybe more particularly, their library of available samples and the skill to make them more interesting, is lacking. Contracing Vanguard Sound Studios for nearly the entirety of PGR has been a Godsend for them, marketing-wise, and it's lead to some of the most memorable bosses in the game. Meanwhile, Wuthering just doesn't have any tracks like that right now. Even 'Flow,' the song they initially contracted to act as marketing for Wuthering Waves, doesn't appear in the final release. Perhaps more songs from VSS will appear again, but it's just not as good, and combined with the strange choices to make some of them feel even more generic by comparison, it just never really sticks for me. Inferno Rider I think is one of the most prominent ones. His boss theme, in concept, is really great, but it doesn't really communicate anything about him whatsoever, other than, "He's a TD that rides a motorbike." It sounds cool, but it also sounds rushed. Some of the drums and the guitar are completely sampled and a touch poorly. With some more time in the oven, it could've come out much better, but instead, it feels half-baked. The UII won't go too in-depth with the UI, but frankly, it's egregious. Not egregiously bad, just egregiously similar to Hoyo's. Honkai Star Rail and Genshin Impact have exceedingly similar UIs because they're from the exact same company, obviously, but Wuthering has noe excuse. It contributes heavily to the comparisons, and when you even get so deep into it as to start utilizing the same language as them ('Leave this domain?' 'Resurrection point active,' and so on) when text is one of the easiest things to swap around, it just reads as lazy. I don't think Kuro are lazy, but it feels like it.This is doubly as prominent, as the UI included in how they communicate being in certain areas (i.e, 'Domains,' and their version of the Spiral Abyss, which they almost laughably reference with the quest title to unlock it being 'Alone in the Abyss') is almost one for one to Genshin's when it comes to starting them. The environments aren't the same, but the concept surely is. There's an object in the middle to begin a challenge, it has the same language, same UI, same everything. You begin, it spawns enemies, you finish. It's one of the most egregious parts about the game, and I hate how much they borrow from it. It's been a consistent problem with the game since the Technical Test, and something that people have been calling out for so long. They made changes to the UI, I don't understand why they couldn't have made even a slightly more drastic overhaul, and even more so, I can't even begin to understand why they continued to double down on it. Characters & DesignsThe character designs across the board are a very... decent bunch. I don't have any particularly strong feelings about any of them, aside from a few. The ones I love are Calcharo, Yuanwu, and Jiyan, though a little less than the other two. I like Danjin and Jianxin. And the only one I dislike actively is Yinlin's, and that's almost entirely due to my perception of her from the beta being changed. I think her beta design was significantly more interesting and communicated a much more unique character than the generic seductress she is, now. I have no issues with fanservice of any sort, so it's not that she's 'hotter,' just that I think there could have been both. Perhaps it's partly on me for getting attached to an early concept of a character, but I never imagined she'd get such a drastic shift.Overall, they don't evoke many reactions from me. They all look good in motion, but many of them are just 'fine.' I think the characters therein are something I can't make a qualified judgement on. It seems some have stayed the same since beta (Danjin being a particular one I was intrigued by in both settings I've played the game) whereas some have undergone some pretty hefty changes (Chixia due to the aforementioned story changes). DialogueThe dialogue in the game has already been mentioned, but it needs its own section. It is... abysmal at worst, and okay at best. It frequently delves into unrelated tangents, constant dropping of terminology, exposition dumps, and flows so poorly from beat to beat that you'd think certain things are from different scenes.Even worse, though, are the issues just with the performances. I will not sit here and lambast the actors themselves. It's not their fault that their direction was so poor, and even if they weren't up to par, it's still up to the directors to choose to find a replacement voice actor for the role. For the English version alone (as that's the version I'm playing in) I've only seen one standout performance, and that was from Mortefi's VA, Joseph Day, who did an excellent job and, more importantly, seemed to get much better direction. The secondary issue with this is how much they insist on utilizing said voices. Fully voice acted story cutscenes, idle animations, and so on, all contribute to needing to hear them constantly, and they get grating. Kuro has already put out a statement that the direction for voices will be different moving forward, and I hope it contributes to better performances across the board from the playable cast. I think what's funny, though, is some of the better performances other than Mortefi come from the non-important background NPCs. Sure, the British accents are a bit odd, but they sound much better. I wonder if they were given more freedom during recording, hence why they end up sounding more natural by comparison. Bugs & Technical IssuesI have not encountered anything I would call gamebreaking, but I've been seeing a lot of problems plaguing a lot of people. It's just unacceptable to see, and some of them be so prominent. I don't think I have to go further into detail for this one, but it's further proof that the game needed more time to cook.Environments & AreasFinally, the reason I even made this whole tangent in the first place, is the environments. In the full release, they're all... passable, I suppose, but scarcely ever make it to anything greater than simply passable. The bigger issue, to me, is many of the most interesting looking areas were completely cut! A lot of the ruined urban cityscapes were replaced with standard cliffsides and grasslands, and instead of them having the interesting verticality that was once there, they've been replaced with the most boring stuff.Maybe they needed more space to put things? Maybe they thought they weren't interesting enough? Are they placing them elsewhere? I'm not sure. I mentioned The Port City of Guixu before, but even that had its own share of changes. I loved it a lot more when the sky nonetheless stayed red even after defeating Inferno Rider. I loved how it never lost that sense of sadness that permeated it. It felt unique, because even exploring it while it was safer never felt safe. Something else had claimed the land, and it felt so awesome. The once misty forests have been replaced with just one massive tree. Was it difficult to navigate? It had some of the best setpieces available, and constantly teemed with new things to locate and find. The puzzles there were extremely fun. There was even one that was part of an old amusement park. In fact, the entire region had that theme. Being above the trees was an intriguing position to be in, since it was so foggy, but being within them was a whole different world, making your way to the one huge tree in the distance that housed the boss of the area, who remains unchanged. Even more tragic is an area I can't even recall the name or position of. It was somewhere south of Jinzhou, and it was this beautiful urban landscape, ruined and desolate, but was teeming with all sorts of life. Exiles were camping out in its abandoned corners, and so many things felt so alive in there. In the day, it was a fairly average overgrown cityscape, but during the night, it actually glowed, and I mean that literally. It felt so gorgeous, but again, so saddening, in a way. I'm genuinely baffled as to why they removed it because it was one of the most gorgeous and unique looking areas they had on hand. Replacing them with the most generic areas possible only fuels the Genshin comparisons more. Anecdotal though it is, I've had two friends with no clue as to what Wuthering was wonder if what I was playing was Genshin because to them, it's indistinguishable. There are no more landmarks. No more intriguing places to wander. I don't feel a desire to explore. I'll include some screenshots of the forest and the cityscape I'm referencing. Perhaps I simply need to be patient and wait for them to appear, but from the available map I have at the current moment, I haven't been able to locate any of them, and it deeply saddens me knowing they may potentially be gone until a later date. https://preview.redd.it/s5d5zp52v43d1.png?width=1920&format=png&auto=webp&s=46d142e3fc3ea8cf479f8b0ebe2f919050f5a6b1 https://preview.redd.it/ihrcht54v43d1.png?width=1920&format=png&auto=webp&s=2176390ae3acc07707b5529afa483b080251e860 https://preview.redd.it/bbwmh0a5v43d1.png?width=1920&format=png&auto=webp&s=5eece809fcd94b2fea9bd657e7b6a40b7e5a3dcd https://preview.redd.it/ixhmyqw6v43d1.png?width=1920&format=png&auto=webp&s=3a7bd16c3359589e817c76c49b9fcd748b3b1550 https://preview.redd.it/0wjf1708v43d1.png?width=1920&format=png&auto=webp&s=7784520905ee25736c21e6901e8e05c53ed25b7d Closing ThoughtsI think the full release is an inferior game to the first beta test in nearly every way. The environments are less interesting, the music choices are sometimes more bland than they were (even if well composed), and the story and atmosphere are significantly hampered.The rewrites it went through hurt the story significantly, which has ripple effects on all of the characters involved. The world just generally feels less interesting, as so much of it is frontloaded onto you, now, rather than being saved for later reveals. I can't fully fathom most of the decisions. I hope the game, a year down the line, ends up improving significantly, but in my personal opinion, I think Kuro has a lot of work to do. By comparison to not only its peers, but also to PGR and the prior versions of the same title, I think they have a lot of work to do to reach that point. This was a 150 million dollar gamble I don't think they're particularly keen on losing anytime soon. |
2024.05.28 11:03 theinzanekid Final Weapon Theory [HADES 2 SPOILERS]
I lied. It's just what I would want it to be. It's not even a theory. Or maybe it is something you can call a theory idk, but I kinda want it to be an instrument.
Anyway yeah don't take any of this seriously. It's mostly wishful thinking since I'm positive Supergiant is gonna come up with something else.
Maybe it's not as witch-themed as the other Nocturnal Arms with the exception of the comically large axe. I definitely intended it to be Bard-y. Following the theme of the comically large axe, which changes forms from Axe to Not-Axe in its aspects, I figured, why not? Another part of my reasoning is that the sixth weapon of the first game was a gun. So, why not an instrument for this one?
Attack - A flying note at the opponent that causes knockback Omega Attack - A continuous song is played by Mel which renders her unable to move but also shreds nearby foes. Either short range AoE or medium range straight line. Not really sure. It also costs a lot of mana per second
Special - The inverse. This time it's a melee attack where Melinoe hits something with the instrument to knock them back Omega Special - Just a really empowered version of the special that where any enemy that was knocked back into another enemy would damage both.
Based on those, the weapon itself seems more like a defensive keep away tool.
Aspect of Melinoe - I'm not really sure what type of instrument she'd play. Maybe Panpipes or Aulos or even a Bass Guitar? As for the upgrades, maybe the knockback also does more damage
Aspect of Apollo - Artemis is here, so why not him? Although this is a bit of a stretch since why would the Sun God bear a NOCTURNAL arm. Then again, Eos is a Torch aspect too. His would take the form of a Lyre with the Omega Attack being a light arrow which fires from the lyre and it pierces through foes. Exchanging a fast-attacking dps Omega Attack for one burst damage The upgrades could either be increased Omega Attack damage OR more foes can be pierced.
Aspect of Euterpe - One of the 9 muses who uses a flute. Maybe the most defensive and survival focused on the Nocturnal Arms aspect. The attack of the weapon would heal Melinoe when she's at least below 50% until she heals 30% of the damage done to her with the upgrades increasing the percentage of either one. It's probably gonna be too op in terms of survival
Hidden Aspect:
I could think of some historical and modern musicians we have. I thought of five possible ones outside of greek myth
Aspect of Beethoven - I actually have no clue how she'll push a piano around.
Aspect of Slash - Electric Guitar. Omega Attack is a guitar solo that does more damage
Aspect of Guy-Manuel - Melinoe wears some futuristic helmet
Aspect of Hatsune - A microphone and turns Melinoe's attacks into a semi-rhythm game. The better the timing, the more damaging
Aspect of Tchaikovsky - A cannon. Melinoe drags a cannon around.
Other Aspects I thought of were:
submitted by theinzanekid to HadesTheGame [link] [comments]
Anyway yeah don't take any of this seriously. It's mostly wishful thinking since I'm positive Supergiant is gonna come up with something else.
Maybe it's not as witch-themed as the other Nocturnal Arms with the exception of the comically large axe. I definitely intended it to be Bard-y. Following the theme of the comically large axe, which changes forms from Axe to Not-Axe in its aspects, I figured, why not? Another part of my reasoning is that the sixth weapon of the first game was a gun. So, why not an instrument for this one?
Attack - A flying note at the opponent that causes knockback Omega Attack - A continuous song is played by Mel which renders her unable to move but also shreds nearby foes. Either short range AoE or medium range straight line. Not really sure. It also costs a lot of mana per second
Special - The inverse. This time it's a melee attack where Melinoe hits something with the instrument to knock them back Omega Special - Just a really empowered version of the special that where any enemy that was knocked back into another enemy would damage both.
Based on those, the weapon itself seems more like a defensive keep away tool.
Aspect of Melinoe - I'm not really sure what type of instrument she'd play. Maybe Panpipes or Aulos or even a Bass Guitar? As for the upgrades, maybe the knockback also does more damage
Aspect of Apollo - Artemis is here, so why not him? Although this is a bit of a stretch since why would the Sun God bear a NOCTURNAL arm. Then again, Eos is a Torch aspect too. His would take the form of a Lyre with the Omega Attack being a light arrow which fires from the lyre and it pierces through foes. Exchanging a fast-attacking dps Omega Attack for one burst damage The upgrades could either be increased Omega Attack damage OR more foes can be pierced.
Aspect of Euterpe - One of the 9 muses who uses a flute. Maybe the most defensive and survival focused on the Nocturnal Arms aspect. The attack of the weapon would heal Melinoe when she's at least below 50% until she heals 30% of the damage done to her with the upgrades increasing the percentage of either one. It's probably gonna be too op in terms of survival
Hidden Aspect:
I could think of some historical and modern musicians we have. I thought of five possible ones outside of greek myth
Aspect of Beethoven - I actually have no clue how she'll push a piano around.
Aspect of Slash - Electric Guitar. Omega Attack is a guitar solo that does more damage
Aspect of Guy-Manuel - Melinoe wears some futuristic helmet
Aspect of Hatsune - A microphone and turns Melinoe's attacks into a semi-rhythm game. The better the timing, the more damaging
Aspect of Tchaikovsky - A cannon. Melinoe drags a cannon around.
Other Aspects I thought of were:
- Orpheus - Though I don't think it would make sense for him to have wielded a nocturnal arm in the past and definitely not in the future like Moros would
- Calliope - One of the more known muses but I figured a lesser known sister would suffice
- Pan - Makes the least sense to be here since he already has the sister blades
- Pied Piper is another hidden aspect worth considering since he's not a greek myth and is a folklore
- Heimdallr - His gjallarhorn that could have a similar effect to the Aspect of Gilgamesh
2024.05.28 08:57 Affectionate-Alps742 I don't even know anymore
I'm 52 and I've had to start my life over. I keep fighting and fighting and fighting and at some point it feels like I could just collapse on the ground put my hands behind my head, clasp them together, and put my head on the ground and just wait.
I have been fighting for this rebuild of my life since 2022. I have no friends and this is why I'm here. I come on here everyday just to see if somebody is talking to me or says something to me and they're not looking for stupid fucking naked pictures. I'm a person. I'm just a person like everybody else and I'm trying to survive.
It's this cloud. This cloud that hangs over me and it's dark. It obfuscates anything beyond darkness.
I had a friend a long time ago and her name was Susan, with Susan I guess was my best friend at the time. We used to stay up late at night and work on her website and do all sorts of things like hang out and play guitar hero or rock band and whatever. Then she died. It was just like that, she had a spinal hemorrhage and died in her sleep.
Soon after that I met somebody else that I thought I could be friends with, she seemed happy. She would make these candles that were Egyptian themed and sold them. I messaged her one day and she responded and the next day I messaged her again and I never heard from her again. Until I saw her on Facebook, or rather her family posted on her profile and I found out she killed herself.
Jumping back to my early twenties, I met this guy that was a son of one of my friends and he was a pretty cool kid. He needed a safe place to crash so I let him stay, the next morning he was gone and so was one of my shotguns that I had at the time. I didn't find out until a year later that he went down the street and not across the road. That was probably the first time I had ever experienced suicide.
I'm not suicidal. At least not right now or I would be in a different forum or on the phone. But I do have this feeling that maybe it's time to just firmly plant myself in a corner in a fetal position and wait to die.
submitted by Affectionate-Alps742 to depression [link] [comments]
I have been fighting for this rebuild of my life since 2022. I have no friends and this is why I'm here. I come on here everyday just to see if somebody is talking to me or says something to me and they're not looking for stupid fucking naked pictures. I'm a person. I'm just a person like everybody else and I'm trying to survive.
It's this cloud. This cloud that hangs over me and it's dark. It obfuscates anything beyond darkness.
I had a friend a long time ago and her name was Susan, with Susan I guess was my best friend at the time. We used to stay up late at night and work on her website and do all sorts of things like hang out and play guitar hero or rock band and whatever. Then she died. It was just like that, she had a spinal hemorrhage and died in her sleep.
Soon after that I met somebody else that I thought I could be friends with, she seemed happy. She would make these candles that were Egyptian themed and sold them. I messaged her one day and she responded and the next day I messaged her again and I never heard from her again. Until I saw her on Facebook, or rather her family posted on her profile and I found out she killed herself.
Jumping back to my early twenties, I met this guy that was a son of one of my friends and he was a pretty cool kid. He needed a safe place to crash so I let him stay, the next morning he was gone and so was one of my shotguns that I had at the time. I didn't find out until a year later that he went down the street and not across the road. That was probably the first time I had ever experienced suicide.
I'm not suicidal. At least not right now or I would be in a different forum or on the phone. But I do have this feeling that maybe it's time to just firmly plant myself in a corner in a fetal position and wait to die.
2024.05.28 07:16 wsppan Today In Phishstory - May 28th
# Today In Phishstory - May 28th Brought to you by tiph-bot. Beep.
All data extracted via The Phishnet API.
Phish, Saturday 05/28/2022 (2 years ago) The Wharf, Orange Beach, AL, USA
Gap Chart, Tour: 2022 Spring Tour
Set 1 : Sigma Oasis , Possum , AC/DC Bag > Reba , Roggae , My Mind's Got a Mind of its Own > The Final Hurrah > Free
Set 2 : A Wave of Hope > Mr. Completely > Walk Away , Golden Age > What's the Use? > The Moma Dance , If I Could > Run Like an Antelope
Encore : I Am in Miami , Izabella
Jamchart Notes:
Sigma Oasis - In a string of strong openers, Sigma Oasis gets the extended treatment for the second time. Soaring play from Trey kicks the jam off, which gives way to a breakdown jam. Mike is inventive and creative throughout.
Free - Some dirty chord work from Trey nudges the jam out of the usual bass-guitar duel into a into a full-on barrage of synths and effects creating a killer atmospheric groove. Filthy, filthy version.
Golden Age - Takes a little bit of time to get going, but then resolves into a funky and bouncy jam not far away from "YPC", grows in power slowly and steadily, and nicely peaks before heading home. As with the 8/11/21 "BOAF" or 11/23/97 "Gin", finds its pocket and stays in it to very nice effect.
Show Notes:
My Mind's Got a Mind of its Own was performed for the first time since October 25, 2013 (285 shows). Page teased Frankenstein in The Final Hurrah. Fish teased Mr. Completely in Walk Away.
Listen now at Phish.in!
Phish, Saturday 05/28/2011 (13 years ago) Bethel Woods, Bethel, NY, USA
Gap Chart, Tour: 2011 Early Summer Tour
Set 1 : Theme From the Bottom , NICU , Cities , Halley's Comet > Runaway Jim , Gumbo > Quinn the Eskimo (The Mighty Quinn) > Limb By Limb , Horn , Bathtub Gin -> Manteca > Bathtub Gin
Set 2 : Down with Disease 1 > Free > Backwards Down the Number Line > Makisupa Policeman 2 > Harry Hood > Cavern > David Bowie
Encore : A Day in the Life
1 Unfinished. 2 With lyrics referencing several band members' houses (and Trey's favorite show, House).
Jamchart Notes:
Cities - Nice little extended outro with a good Trey-led peak.
Halley's Comet - Percussion driven, exploratory version that manages to cover a lot of ground in a relatively short time.
Bathtub Gin - "Gin" -> "Manteca" > "Gin." The "Gin" sections, although largely straightforward, include improvisational playing by Trey. "Manteca" includes "Golden Age" jamming, with fans thus dubbing this version the "GoldenGinTeca."
Manteca - -> in from "Gin." The jamming just before and during this "Manteca" includes teases of "Golden Age," causing fans to dub this version the "GoldenGinTeca." > back to "Gin."
Bathtub Gin - > in from "Manteca" to end this fine version.
Backwards Down the Number Line - The band incorporates a lot of "DEG" teasing/jamming into the standard format. The mood shifts back and forth from bright to dark several times, with "DEG"-like playing at various times throughout, before returning to "BDTNL." A very cool version.
Makisupa Policeman - An energetic, funky jam emerges at around 5:30 after some chanting on "House." This is a fun, well-played version.
Harry Hood - This "Hood" has a really nice jam that sounds similar to "Faht" at times. Returns to "Hood" to close.
Show Notes:
Gin included a mash-up jam of Golden Age and Manteca and later closed with a Manteca quote from Trey. Disease was unfinished. BDTNL featured a DEG tease from Mike. Makisupa included lyrics referencing several band members' houses (and Trey's favorite show, House ).
Listen now at Phish.in!
Phish, Saturday 05/28/1994 (30 years ago) Laguna Seca Raceway, Monterey, CA, USA
Gap Chart, Tour: 1994 Spring Tour
Set 1 : Rift > Sample in a Jar , Foam , Bouncing Around the Room , Stash , The Horse > Silent in the Morning > The Sloth , Maze , Cavern
Set 2 : Axilla (Part II) > It's Ice > Tweezer > Lifeboy > Reba 1 , Fee 2 > Llama , You Enjoy Myself 3
Encore : Poor Heart
1 No whistling. 2 Trey sang verses through megaphone. 3 Les Claypool on bass and Fish on vacuum; no vocal jam.
Jamchart Notes:
It's Ice - Wild, electro-rock jam!
Reba - Super version. Trey drives a great, dark, direct yet swinging groove, with Page providing really colorful fills. Mike is on-point, his play incredible, and, with Fish, inciting a sort of charge from Trey who creates an electric solo through an incredible conclusion.
Show Notes:
This performance was part of the Laguna Seca Daze Festival that also included Sausage, Gin Blossoms and Freddy Jones Band. Trey teased Sailor's Hornpipe in Tweezer. Reba did not have the whistling ending. Trey sang the verses of Fee through a megaphone. YEM featured Les Claypool playing on a second bass guitar and Fish on vacuum, and included a band-accompanied bass duel between Mike and Les and a Gimme Some Lovin' tease from Page, Dueling Banjos teases in the jam segment, and a Yankee Doodle tease. YEM ended without a vocal jam. Dueling Banjos was also teased before and during Poor Heart.
Listen now at Phish.in!
Phish, Monday 05/28/1990 (34 years ago) Jack McConnell's House, Hilton Head, SC, USA
Gap Chart, Tour: 1990 Tour
Set 1 : Blue Monk , Autumn Leaves , Donna Lee , How High the Moon , My Funny Valentine 1 , Take the 'A' Train , Sweet Adeline , St. Thomas , Caravan , Carolina , Bill Bailey, Won't You Please Come Home? 2 , Piano Boogie Woogie Jam 1 , I've Got You Under My Skin 1 , Satin Doll , Lawn Boy , Contact
1 First known Phish performance. 2 First known Phish performance; with Dr. Jack McConnell.
Show Notes:
This was a private one set jazz show at Page's parents' housewarming party. It is thought to have happened on Monday, May 28th, but could possibly have taken place Sunday, May 27th. This show featured the first known Phish performances of My Funny Valentine, Bill Bailey Won't You Please Come Home, Piano Boogie Woogie Jam and I've Got You Under My Skin. Page's dad, Dr. Jack McConnell, joined the band for Bill Bailey. The source of this setlist is phish.com.
Listen now at Phish.in!
Phish, Sunday 05/28/1989 (35 years ago) Ian McLean's Party, Connie Condon's Farm, Hebron, NY, USA
Gap Chart, Tour: 1989 Tour
Set 1 : Divided Sky , Run Like an Antelope , Colonel Forbin's Ascent > Fly Famous Mockingbird , Fee -> Slave to the Traffic Light , Esther , Suzy Greenberg , You Enjoy Myself 1
Set 2 : Fire , Mike's Song > I Am Hydrogen > Weekapaug Groove , Bathtub Gin , Sanity 2 , Ride Captain Ride , Peaches en Regalia , Take the 'A' Train 3 , Possum , Contact 4 , Funky (Breakdown) 5 -> The Price of Love 6 , Funky Bitch , Split Open and Melt 7 , The Mango Song , Harry Hood
Set 3 : Jam -> La Grange Jam , The Sloth , Sneakin' Sally Through the Alley > Ya Mar 8 , Jesus Just Left Chicago
1 Poop Vocal Jam. 2 Fast version. 3 Unknown saxophone player named "Paul." 4 Trey wished the crowd "Merry Christmas" several times. 5 First known Phish performance; Ninja Mike on vocals and Magoo on guitar. 6 Ninja Mike on vocals, Magoo on guitar and Fish on vacuum and trombone. [7] Fish drum solo. [8] Lyrics referenced wild pigs and Paul.
Jamchart Notes:
Slave to the Traffic Light - Although this version begins with spacey elements similar to 5/6/89, it also peaks in a more customary and shredding manner, reestablishing a more conventional approach to the jam.
Esther - > from "Slave to the Traffic Light," this too is slow, patient, and well-played. Trey is particularly on point, deploying a series of "jazzy" chords before offering up a great solo.
You Enjoy Myself - Very good early version with hilarious "POOP" VJ!
Jam - A somewhat dark, low-key jam opens Set III at Ian McLean's Party, builds intensity, and -> to a brief "La Grange" jam.
Jesus Just Left Chicago - Machine Gun Trey in combat action in the latter half of this jam.
Show Notes:
Trey dedicated the Divided Sky opener to "the spirit of the pig." Trey briefly teased TMWSIY before Antelope. This YEM featured the infamous "Poop Vocal Jam," followed by a set-stopping keg run. Mike's Song included a tease of the HBO theme song. Sanity was the fast version and dedicated to Eric Larson. 'A' Train featured "Paul," an unknown audience member, on saxophone and included a Dixie tease from Trey. During Contact, Trey wished the crowd "Merry Christmas" several times, quoted Blue Bayou (with slightly altered lyrics) in a falsetto voice and teased Auld Lang Syne at the end of the song. This show featured the first known Phish performance of Funky (Breakdown). Funky (Breakdown) and Price of Love featured guest appearances by Ninja Mike (vocals) and Magoo (guitar). Fish intermittently played trombone and vacuum during the latter. Melt featured a Fish drum solo. The vocal jam at the end of Sneakin' Sally included Changes (David Bowie) and My Sharona (The Knack) quotes. Ya Mar's lyrics included references to wild pigs and Paul.
Listen now at Phish.in!
Phish, 1988-05-28 Wedding Reception, Waitsfield, VT, USA
Setlist: https://phish.net/setlists/phish-may-28-1988-wedding-reception-waitsfield-vt-usa.html
Tour: 1988 Tour
Show Notes:
Trey Anastasio Band, 2020-05-28 Thompson's Point, Portland, ME, USA
Setlist: https://phish.net/setlists/trey-anastasio-band-may-28-2020-thompsons-point-portland-me-usa.html
Tour: Not Part of a Tour
Show Notes: This performance was cancelled as a result of the coronavirus COVID-19 outbreak.
Trey Anastasio Band, 2019-05-28 Jannus, St. Petersburg, FL, USA
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2019-jannus-landing-st-petersburg-fl-usa.html
Tour: Not Part of a Tour
Show Notes:
Trey Anastasio Band, 2017-05-28 Three Sisters Park, Chillicothe, IL, USA
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2017-three-sisters-park-chillicothe-il-usa.html
Tour: Not Part of a Tour
Show Notes: This performance was part of Summer Camp Music Festival and took place on the Sunshine Stage. This show featured the TAB debut of Midnight Rider. Money, Love and Change contained a San-Ho-Zay tease.
Trey Anastasio Band, 2003-05-28 Electric Factory, Philadelphia, PA, USA
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2003-electric-factory-philadelphia-pa-usa.html
Tour: TAB - The Dectet Summer 2003 Tour
Show Notes: Trey performed "The Inlaw Josie Wales" and "Secret Smile" solo, acoustic.
Trey Anastasio Band, 2002-05-28 Open Air Theatre, San Diego State University, San Diego, CA, USA
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2002-open-air-theatre-san-diego-ca-usa.html
Tour: TAB - The Dectet Summer 2002 Tour
Show Notes: The cover of Dire Straits' "Sultans of Swing" was a TAB debut. Trey performed "Thunderhead" acoustic.
Jazz Mandolin Project, 2004-05-28 Theatre of the Living Arts, Philadelphia, PA, USA
Setlist: https://phish.net/setlists/jon-fishman-may-28-2004-theatre-of-the-living-arts-philadelphia-pa-usa.html
Tour: Fish - Jazz Mandolin Project Summer 2004 Tour
Show Notes: Al and the Transamericans opened. "What Is and What Should Never Be" featured Al Schiner on guitar. "Ballad for Trio" featured Gordon Stone on pedal steel guitar. "Dark Eyes" featured Mark Guiliana on box drum.
submitted by wsppan to phish [link] [comments]
All data extracted via The Phishnet API.
Phish
Gap Chart, Tour: 2022 Spring Tour
Set 1 : Sigma Oasis , Possum , AC/DC Bag > Reba , Roggae , My Mind's Got a Mind of its Own > The Final Hurrah > Free
Set 2 : A Wave of Hope > Mr. Completely > Walk Away , Golden Age > What's the Use? > The Moma Dance , If I Could > Run Like an Antelope
Encore : I Am in Miami , Izabella
Jamchart Notes:
Sigma Oasis - In a string of strong openers, Sigma Oasis gets the extended treatment for the second time. Soaring play from Trey kicks the jam off, which gives way to a breakdown jam. Mike is inventive and creative throughout.
Free - Some dirty chord work from Trey nudges the jam out of the usual bass-guitar duel into a into a full-on barrage of synths and effects creating a killer atmospheric groove. Filthy, filthy version.
Golden Age - Takes a little bit of time to get going, but then resolves into a funky and bouncy jam not far away from "YPC", grows in power slowly and steadily, and nicely peaks before heading home. As with the 8/11/21 "BOAF" or 11/23/97 "Gin", finds its pocket and stays in it to very nice effect.
Show Notes:
My Mind's Got a Mind of its Own was performed for the first time since October 25, 2013 (285 shows). Page teased Frankenstein in The Final Hurrah. Fish teased Mr. Completely in Walk Away.
Listen now at Phish.in!
Gap Chart, Tour: 2011 Early Summer Tour
Set 1 : Theme From the Bottom , NICU , Cities , Halley's Comet > Runaway Jim , Gumbo > Quinn the Eskimo (The Mighty Quinn) > Limb By Limb , Horn , Bathtub Gin -> Manteca > Bathtub Gin
Set 2 : Down with Disease 1 > Free > Backwards Down the Number Line > Makisupa Policeman 2 > Harry Hood > Cavern > David Bowie
Encore : A Day in the Life
1 Unfinished. 2 With lyrics referencing several band members' houses (and Trey's favorite show, House).
Jamchart Notes:
Cities - Nice little extended outro with a good Trey-led peak.
Halley's Comet - Percussion driven, exploratory version that manages to cover a lot of ground in a relatively short time.
Bathtub Gin - "Gin" -> "Manteca" > "Gin." The "Gin" sections, although largely straightforward, include improvisational playing by Trey. "Manteca" includes "Golden Age" jamming, with fans thus dubbing this version the "GoldenGinTeca."
Manteca - -> in from "Gin." The jamming just before and during this "Manteca" includes teases of "Golden Age," causing fans to dub this version the "GoldenGinTeca." > back to "Gin."
Bathtub Gin - > in from "Manteca" to end this fine version.
Backwards Down the Number Line - The band incorporates a lot of "DEG" teasing/jamming into the standard format. The mood shifts back and forth from bright to dark several times, with "DEG"-like playing at various times throughout, before returning to "BDTNL." A very cool version.
Makisupa Policeman - An energetic, funky jam emerges at around 5:30 after some chanting on "House." This is a fun, well-played version.
Harry Hood - This "Hood" has a really nice jam that sounds similar to "Faht" at times. Returns to "Hood" to close.
Show Notes:
Gin included a mash-up jam of Golden Age and Manteca and later closed with a Manteca quote from Trey. Disease was unfinished. BDTNL featured a DEG tease from Mike. Makisupa included lyrics referencing several band members' houses (and Trey's favorite show, House ).
Listen now at Phish.in!
Gap Chart, Tour: 1994 Spring Tour
Set 1 : Rift > Sample in a Jar , Foam , Bouncing Around the Room , Stash , The Horse > Silent in the Morning > The Sloth , Maze , Cavern
Set 2 : Axilla (Part II) > It's Ice > Tweezer > Lifeboy > Reba 1 , Fee 2 > Llama , You Enjoy Myself 3
Encore : Poor Heart
1 No whistling. 2 Trey sang verses through megaphone. 3 Les Claypool on bass and Fish on vacuum; no vocal jam.
Jamchart Notes:
It's Ice - Wild, electro-rock jam!
Reba - Super version. Trey drives a great, dark, direct yet swinging groove, with Page providing really colorful fills. Mike is on-point, his play incredible, and, with Fish, inciting a sort of charge from Trey who creates an electric solo through an incredible conclusion.
Show Notes:
This performance was part of the Laguna Seca Daze Festival that also included Sausage, Gin Blossoms and Freddy Jones Band. Trey teased Sailor's Hornpipe in Tweezer. Reba did not have the whistling ending. Trey sang the verses of Fee through a megaphone. YEM featured Les Claypool playing on a second bass guitar and Fish on vacuum, and included a band-accompanied bass duel between Mike and Les and a Gimme Some Lovin' tease from Page, Dueling Banjos teases in the jam segment, and a Yankee Doodle tease. YEM ended without a vocal jam. Dueling Banjos was also teased before and during Poor Heart.
Listen now at Phish.in!
Gap Chart, Tour: 1990 Tour
Set 1 : Blue Monk , Autumn Leaves , Donna Lee , How High the Moon , My Funny Valentine 1 , Take the 'A' Train , Sweet Adeline , St. Thomas , Caravan , Carolina , Bill Bailey, Won't You Please Come Home? 2 , Piano Boogie Woogie Jam 1 , I've Got You Under My Skin 1 , Satin Doll , Lawn Boy , Contact
1 First known Phish performance. 2 First known Phish performance; with Dr. Jack McConnell.
Show Notes:
This was a private one set jazz show at Page's parents' housewarming party. It is thought to have happened on Monday, May 28th, but could possibly have taken place Sunday, May 27th. This show featured the first known Phish performances of My Funny Valentine, Bill Bailey Won't You Please Come Home, Piano Boogie Woogie Jam and I've Got You Under My Skin. Page's dad, Dr. Jack McConnell, joined the band for Bill Bailey. The source of this setlist is phish.com.
Listen now at Phish.in!
Gap Chart, Tour: 1989 Tour
Set 1 : Divided Sky , Run Like an Antelope , Colonel Forbin's Ascent > Fly Famous Mockingbird , Fee -> Slave to the Traffic Light , Esther , Suzy Greenberg , You Enjoy Myself 1
Set 2 : Fire , Mike's Song > I Am Hydrogen > Weekapaug Groove , Bathtub Gin , Sanity 2 , Ride Captain Ride , Peaches en Regalia , Take the 'A' Train 3 , Possum , Contact 4 , Funky (Breakdown) 5 -> The Price of Love 6 , Funky Bitch , Split Open and Melt 7 , The Mango Song , Harry Hood
Set 3 : Jam -> La Grange Jam , The Sloth , Sneakin' Sally Through the Alley > Ya Mar 8 , Jesus Just Left Chicago
1 Poop Vocal Jam. 2 Fast version. 3 Unknown saxophone player named "Paul." 4 Trey wished the crowd "Merry Christmas" several times. 5 First known Phish performance; Ninja Mike on vocals and Magoo on guitar. 6 Ninja Mike on vocals, Magoo on guitar and Fish on vacuum and trombone. [7] Fish drum solo. [8] Lyrics referenced wild pigs and Paul.
Jamchart Notes:
Slave to the Traffic Light - Although this version begins with spacey elements similar to 5/6/89, it also peaks in a more customary and shredding manner, reestablishing a more conventional approach to the jam.
Esther - > from "Slave to the Traffic Light," this too is slow, patient, and well-played. Trey is particularly on point, deploying a series of "jazzy" chords before offering up a great solo.
You Enjoy Myself - Very good early version with hilarious "POOP" VJ!
Jam - A somewhat dark, low-key jam opens Set III at Ian McLean's Party, builds intensity, and -> to a brief "La Grange" jam.
Jesus Just Left Chicago - Machine Gun Trey in combat action in the latter half of this jam.
Show Notes:
Trey dedicated the Divided Sky opener to "the spirit of the pig." Trey briefly teased TMWSIY before Antelope. This YEM featured the infamous "Poop Vocal Jam," followed by a set-stopping keg run. Mike's Song included a tease of the HBO theme song. Sanity was the fast version and dedicated to Eric Larson. 'A' Train featured "Paul," an unknown audience member, on saxophone and included a Dixie tease from Trey. During Contact, Trey wished the crowd "Merry Christmas" several times, quoted Blue Bayou (with slightly altered lyrics) in a falsetto voice and teased Auld Lang Syne at the end of the song. This show featured the first known Phish performance of Funky (Breakdown). Funky (Breakdown) and Price of Love featured guest appearances by Ninja Mike (vocals) and Magoo (guitar). Fish intermittently played trombone and vacuum during the latter. Melt featured a Fish drum solo. The vocal jam at the end of Sneakin' Sally included Changes (David Bowie) and My Sharona (The Knack) quotes. Ya Mar's lyrics included references to wild pigs and Paul.
Listen now at Phish.in!
Setlist: https://phish.net/setlists/phish-may-28-1988-wedding-reception-waitsfield-vt-usa.html
Tour: 1988 Tour
Show Notes:
Trey Anastasio
Setlist: https://phish.net/setlists/trey-anastasio-band-may-28-2020-thompsons-point-portland-me-usa.html
Tour: Not Part of a Tour
Show Notes: This performance was cancelled as a result of the coronavirus COVID-19 outbreak.
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2019-jannus-landing-st-petersburg-fl-usa.html
Tour: Not Part of a Tour
Show Notes:
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2017-three-sisters-park-chillicothe-il-usa.html
Tour: Not Part of a Tour
Show Notes: This performance was part of Summer Camp Music Festival and took place on the Sunshine Stage. This show featured the TAB debut of Midnight Rider. Money, Love and Change contained a San-Ho-Zay tease.
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2003-electric-factory-philadelphia-pa-usa.html
Tour: TAB - The Dectet Summer 2003 Tour
Show Notes: Trey performed "The Inlaw Josie Wales" and "Secret Smile" solo, acoustic.
Setlist: https://phish.net/setlists/trey-anastasio-may-28-2002-open-air-theatre-san-diego-ca-usa.html
Tour: TAB - The Dectet Summer 2002 Tour
Show Notes: The cover of Dire Straits' "Sultans of Swing" was a TAB debut. Trey performed "Thunderhead" acoustic.
John Fishman
Setlist: https://phish.net/setlists/jon-fishman-may-28-2004-theatre-of-the-living-arts-philadelphia-pa-usa.html
Tour: Fish - Jazz Mandolin Project Summer 2004 Tour
Show Notes: Al and the Transamericans opened. "What Is and What Should Never Be" featured Al Schiner on guitar. "Ballad for Trio" featured Gordon Stone on pedal steel guitar. "Dark Eyes" featured Mark Guiliana on box drum.
2024.05.28 06:53 PatrickBarrett1996 Acoustic Tropical Music?
Hi fellow gamers. Video game music is my most favorite music in the world. And I really love video game music that has acoustic guitar sounds. Especially if it's a Tropical/Beach/Water themed song. I've seen plenty of Nintendo music that fits this description, but could y'all please give me some non Nintendo Tropical themed music that has acoustic in it? Doesn't matter to me what kind of game it's from. Thank you 😊
submitted by PatrickBarrett1996 to gamemusic [link] [comments]
2024.05.28 00:53 Weak-Anything-6833 Notes & themes from European surprise songs so far
Maybe I’ve gone crazy but I decided to go through all the European surprise songs to see how I was feeling. For each night, I’ve noted the songs, the themes and vibe, and an evaluation as to whether a given performance means we are back or over.
I was shocked to see how overt the messages still felt: almost every night had clear MH messages, along with LOTS of references to covert trysts and secret messages. We may not be insane!
On a non-gossipy note: it’s amazing how quickly these evolve from straightforward performances into crazy, elaborate mashups. They’re really impressive, especially since they’re changing every night!
PARIS N1
GUITAR: “Paris”
PIANO: “loml”
NOTES: A relatively sedate first evening. “Paris” seems like an obvious bid to play to the crowd, but it’s worth noting the song is about a secret love and transporting to a better place “where the culture’s clever.” TS then sits down at the piano to tell 30,000 French people breaking up with Matty Healy was like dying.
ARE WE SO BACK OR SO OVER? This is the first night so we’ve never even left.
——
PARIS N2
GUITAR: “Is It Over Now” x “Out of the Woods”
PIANO: “My Boy Only Breaks His Favorite Toys”
NOTES: The messiness dial gets cranked for the first time. “Over Now” basically says, “I’m with someone else, you’re with someone else, what do I need to do to get you back,” and a snippet of “Out of the Woods” suggests they could find their way to a safe clearing.
Moving to the piano, a yearning version of “My Boy” closes with a hushed, insistent, “You say I’m better off/But I’m not/But I’m not.”
BACK/OVER: Very back!
——
PARIS N3
GUITAR: “Hey Stephen”
PIANO: “Maroon”
NOTES: No need to sugarcoat. This is MH’s favorite TS song followed by a genuinely beautiful, soulful version of a song widely known to be about MH. Real “Hello? Can you hear me?” vibes tonight.
BACK/OVER: So back!
——
PARIS N4
GUITAR: “The Alchemy” x “Treacherous”
PIANO: “Begin Again” x “Paris”
NOTES: Just in time, TK and the hall monitors show up to tamp down the chaos. We get “The Alchemy,” which we all definitely know was written specially for Travis Kelce and was never meant to be about anyone else, mixed with “Treacherous,” which is about sincerely, totally loving your current public boyfriend with no reservations.
We then continue the wholly sincere optimism and hope with “Begin Again” on the piano and a little bonus “Paris” because why not. Throughout, TS smiles widely like she’s trying to endure a stranger’s boring anecdote at a cocktail party.
BACK/OVER: This is the standard by which we will judge overness forever. Very over.
——
STOCKHOLM N1
GUITAR: “I Think He Knows” x “Gorgeous”
PIANO: “Peter”
NOTES: Hall monitors are apparently gone because here comes “Gorgeous,” a song about seducing a guy with a different accent while your boyfriend’s not looking, with a little dash of “I Think He Knows” to perhaps suggest these songs are reaching their intended audience.
TS then sings the internationally recognized anthem of the Society for Matty Healy to Be an Adult and Stop Ghosting People, “Peter.” She seems to be saying, “I waited for you to come back and you didn’t so now look where we are.”
BACK/OVER: Moderately back, but a little sad.
——
STOCKHOLM N2
GUITAR: “Guilty as Sin”
PIANO: “Say Don’t Go” x “Welcome to New York” x “Clean”
NOTES: The medleys get more elaborate from here on in as TS starts building snippets of songs into new, fairly coherent messages. After a full, uninterrupted “Guilty as Sin,” we remain thirsty on main (and keyboard) with a mashup that basically says, “Say the word and I’m here. I am eager to remake my life and romantic prospects. I’ve been away from you for most of a year and feel better…but say the word and I’m here.”
BACK/OVER: Extremely back, but still a mere prelude to how back we are about to be.
——
STOCKHOLM N3
GUITAR: “Message in a Bottle” x “How You Get the Girl” x “New Romantics”
PIANO: “How Did It End”
NOTES: Max Martin is in the house, serving as the pretext for a jubilant, complex medley that basically explains itself through titles: “I am sending out a covert message, hoping the right person receives it. You have lost your girl but can get her back through steadfastness and communication. I like people who are free of romantic entanglements.”
For good measure, the piano portion provides the opportunity to suggest a relationship has ended (???) or just give Joe Alwyn a quick kick on the way out the door.
BACK/OVER: Very back but not nearly as back as we’re about to be.
——
LISBON N1
GUITAR: “Come Back…Be Here” x “The Way I Loved You” x “The Other Side of the Door”
PIANO: “Fresh Out the Slammer” x “High Infidelity”
NOTES: Purest depravity. Two medleys, the first of which overtly says the following without metaphor or artifice: “My boyfriend just left the country on a plane. He is sweet and nice and everyone loves him, but I feel nothing and instead pine for an earlier, crazier love. I am trying to find you but I’m not thrilled about your girlfriend.” TS is absolutely joyous throughout.
The piano medley follows with a HEAVY reading of “Slammer,” during which we emphasize a current prison-like relationship, never losing our baby again and being someone’s AMERICAN dream.
We slide into a snippet of “High” that is focused on “dancing around” the idea of straight-up cheating. By the end, TS looks like she’s just pulled off a bank heist — flushed, frazzled, ebullient. Extraordinary.
BACK/OVER: More back than allowed by Portuguese law. Back like we forgot our car keys when we left.
——
LISBON N2
GUITAR: “The Tortured Poets Department” x “Now That We Don't Talk”
PIANO: “You're on Your Own, Kid” x “Long Live”
NOTES: It would be impossible to match the previous night’s energy, but this feels downbeat anyway. The “TTPD” medley is the most intricate we’ve seen so far, creating the despairing new chorus, “Who’s going to hold you now that we don’t talk?” The “NTWDT” section may be a TK dig about being stuck on a boat talking about your bf’s stupid interests, but we don’t omit a word of “TTPD,” down to the plaintive “we’re so crazy.” Deeply moving and sad.
Piano seems to be a crowd-rewarding selection of favorites, although it’s hard not to hear “YOYOK” as a continuation of “HDIE” and “Slammer” from the previous two nights — big “sick of TK” energy. “Long Live” has a hint of “Let’s remember the great times” but still feels sad.
BACK/OVER: Slightly over, like a mediocre steak.
submitted by Weak-Anything-6833 to taylorandmatty [link] [comments]
I was shocked to see how overt the messages still felt: almost every night had clear MH messages, along with LOTS of references to covert trysts and secret messages. We may not be insane!
On a non-gossipy note: it’s amazing how quickly these evolve from straightforward performances into crazy, elaborate mashups. They’re really impressive, especially since they’re changing every night!
PARIS N1
GUITAR: “Paris”
PIANO: “loml”
NOTES: A relatively sedate first evening. “Paris” seems like an obvious bid to play to the crowd, but it’s worth noting the song is about a secret love and transporting to a better place “where the culture’s clever.” TS then sits down at the piano to tell 30,000 French people breaking up with Matty Healy was like dying.
ARE WE SO BACK OR SO OVER? This is the first night so we’ve never even left.
——
PARIS N2
GUITAR: “Is It Over Now” x “Out of the Woods”
PIANO: “My Boy Only Breaks His Favorite Toys”
NOTES: The messiness dial gets cranked for the first time. “Over Now” basically says, “I’m with someone else, you’re with someone else, what do I need to do to get you back,” and a snippet of “Out of the Woods” suggests they could find their way to a safe clearing.
Moving to the piano, a yearning version of “My Boy” closes with a hushed, insistent, “You say I’m better off/But I’m not/But I’m not.”
BACK/OVER: Very back!
——
PARIS N3
GUITAR: “Hey Stephen”
PIANO: “Maroon”
NOTES: No need to sugarcoat. This is MH’s favorite TS song followed by a genuinely beautiful, soulful version of a song widely known to be about MH. Real “Hello? Can you hear me?” vibes tonight.
BACK/OVER: So back!
——
PARIS N4
GUITAR: “The Alchemy” x “Treacherous”
PIANO: “Begin Again” x “Paris”
NOTES: Just in time, TK and the hall monitors show up to tamp down the chaos. We get “The Alchemy,” which we all definitely know was written specially for Travis Kelce and was never meant to be about anyone else, mixed with “Treacherous,” which is about sincerely, totally loving your current public boyfriend with no reservations.
We then continue the wholly sincere optimism and hope with “Begin Again” on the piano and a little bonus “Paris” because why not. Throughout, TS smiles widely like she’s trying to endure a stranger’s boring anecdote at a cocktail party.
BACK/OVER: This is the standard by which we will judge overness forever. Very over.
——
STOCKHOLM N1
GUITAR: “I Think He Knows” x “Gorgeous”
PIANO: “Peter”
NOTES: Hall monitors are apparently gone because here comes “Gorgeous,” a song about seducing a guy with a different accent while your boyfriend’s not looking, with a little dash of “I Think He Knows” to perhaps suggest these songs are reaching their intended audience.
TS then sings the internationally recognized anthem of the Society for Matty Healy to Be an Adult and Stop Ghosting People, “Peter.” She seems to be saying, “I waited for you to come back and you didn’t so now look where we are.”
BACK/OVER: Moderately back, but a little sad.
——
STOCKHOLM N2
GUITAR: “Guilty as Sin”
PIANO: “Say Don’t Go” x “Welcome to New York” x “Clean”
NOTES: The medleys get more elaborate from here on in as TS starts building snippets of songs into new, fairly coherent messages. After a full, uninterrupted “Guilty as Sin,” we remain thirsty on main (and keyboard) with a mashup that basically says, “Say the word and I’m here. I am eager to remake my life and romantic prospects. I’ve been away from you for most of a year and feel better…but say the word and I’m here.”
BACK/OVER: Extremely back, but still a mere prelude to how back we are about to be.
——
STOCKHOLM N3
GUITAR: “Message in a Bottle” x “How You Get the Girl” x “New Romantics”
PIANO: “How Did It End”
NOTES: Max Martin is in the house, serving as the pretext for a jubilant, complex medley that basically explains itself through titles: “I am sending out a covert message, hoping the right person receives it. You have lost your girl but can get her back through steadfastness and communication. I like people who are free of romantic entanglements.”
For good measure, the piano portion provides the opportunity to suggest a relationship has ended (???) or just give Joe Alwyn a quick kick on the way out the door.
BACK/OVER: Very back but not nearly as back as we’re about to be.
——
LISBON N1
GUITAR: “Come Back…Be Here” x “The Way I Loved You” x “The Other Side of the Door”
PIANO: “Fresh Out the Slammer” x “High Infidelity”
NOTES: Purest depravity. Two medleys, the first of which overtly says the following without metaphor or artifice: “My boyfriend just left the country on a plane. He is sweet and nice and everyone loves him, but I feel nothing and instead pine for an earlier, crazier love. I am trying to find you but I’m not thrilled about your girlfriend.” TS is absolutely joyous throughout.
The piano medley follows with a HEAVY reading of “Slammer,” during which we emphasize a current prison-like relationship, never losing our baby again and being someone’s AMERICAN dream.
We slide into a snippet of “High” that is focused on “dancing around” the idea of straight-up cheating. By the end, TS looks like she’s just pulled off a bank heist — flushed, frazzled, ebullient. Extraordinary.
BACK/OVER: More back than allowed by Portuguese law. Back like we forgot our car keys when we left.
——
LISBON N2
GUITAR: “The Tortured Poets Department” x “Now That We Don't Talk”
PIANO: “You're on Your Own, Kid” x “Long Live”
NOTES: It would be impossible to match the previous night’s energy, but this feels downbeat anyway. The “TTPD” medley is the most intricate we’ve seen so far, creating the despairing new chorus, “Who’s going to hold you now that we don’t talk?” The “NTWDT” section may be a TK dig about being stuck on a boat talking about your bf’s stupid interests, but we don’t omit a word of “TTPD,” down to the plaintive “we’re so crazy.” Deeply moving and sad.
Piano seems to be a crowd-rewarding selection of favorites, although it’s hard not to hear “YOYOK” as a continuation of “HDIE” and “Slammer” from the previous two nights — big “sick of TK” energy. “Long Live” has a hint of “Let’s remember the great times” but still feels sad.
BACK/OVER: Slightly over, like a mediocre steak.
2024.05.28 00:34 NarcissisticNarwhal6 Viva las vengeance overall theme and sound and bohemian rhapsody guitar solo same vibe?????
Ok so long story short I played the bohemian rhapsody solo on my guitar a while ago and I also have the viva las vengeance vinyl record hung up by my guitars and I randomly thought of vlv overall theme and sound and bohemian rhapsody’s guitar solo sounding pretty similar. Am I crazy (I already know I am) but does anyone else get that same kinda vibe? Ik panic! Has a cover of bohemian rhapsody but I’m talking about the original by queen.
submitted by NarcissisticNarwhal6 to panicatthedisco [link] [comments]
2024.05.27 22:23 BonfireBlade Jin's Tekken 3 guitar sample: Where'd it originate from?
Recently heard the guitar riff in a Conkers Bad Fur Day track, along with snippets of Eddy's theme. Wondering where this guitar Riff originated from, as I know the Lei wulong riff came from the East 17 song Steam. Anyone know?
submitted by BonfireBlade to Tekken [link] [comments]
2024.05.27 21:59 Tsunamislam1 Please check any errors I have made and point out how I could improve my speech on kurt cobain that I will present at school
Kurdt Cobain: cult icon (…teen spirit) or bad influence (…never mind)?
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
submitted by Tsunamislam1 to Music [link] [comments]
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
2024.05.27 21:58 Tsunamislam1 Please check any errors I have made and point out how I could improve my speech on kurt cobain that I will present at school
Kurdt Cobain: cult icon (…teen spirit) or bad influence (…never mind)?
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
submitted by Tsunamislam1 to PublicSpeaking [link] [comments]
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
2024.05.27 21:55 Tsunamislam1 I have made a speech of Kurt Cobain that I will present in school, please give any advice/point out any errors
Kurdt Cobain: cult icon (…teen spirit) or bad influence (…never mind)?
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
submitted by Tsunamislam1 to kurtcobain [link] [comments]
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
2024.05.27 21:55 Tsunamislam1 I have made a speech of Kurt Cobain that I will present in school, please give any advice/point out any errors
Kurdt Cobain: cult icon (…teen spirit) or bad influence (…never mind)?
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
submitted by Tsunamislam1 to kurtcobain [link] [comments]
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
2024.05.27 21:54 Tsunamislam1 Kurt Cobain speech I will present at school, please give advice and/or point out anything that isn't correct/true.
Kurdt Cobain: cult icon (…teen spirit) or bad influence (…never mind)?
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
submitted by Tsunamislam1 to Nirvana [link] [comments]
I am here to answer whether or not Kurt Cobain was a good influence on the world overall, or whether he didn’t deserve the fame or the credit that he achieved. Now, some of you may be asking “Who on earth is he?” or “why should I care?”. Well, Kurt Cobain, born on the 20th September 1967, was the lead singer and guitarist of the Seattle Grunge band Nirvana, writing several chart-topping songs such as Smells Like Teen Spirit, All apologies, About A Girl, Heart Shaped Box and You Know Your Right, all of which have featured in the top 10 on the billboard charts. His songs have inspired a generation with their impactful and clever lyrics, and his fiercely loyal and dedicated fan base continue to celebrate his music and legacy to this day. He gave people a voice and a channel to release their emotions through his metaphorical and multifaceted lyrics. His biggest concert Live at Reading had over 60,000 people in the crowd. Mocking the rumours of his poor health, Cobain was pushed onstage in a wheelchair, wearing a hospital gown and wig. He was met by Nirvana's bassist Krist Novoselic, who shook his hand and told the audience that "with the support of his friends and family, he's gonna make it." Cobain pretended to struggle to his feet as he stood up in front of the microphone. He then put his guitar on and the band immediately started their set. However, even though his lyrics did change the music industry forever, he did not enjoy the fame. He absolutely hated his hit song smells like teen spirit, which we know as he sang it badly on purpose as he was tired of his fake fans who only liked him for a select few songs. We also know that he felt guilty for not enjoying being on stage and performing, which he mentioned several times in his suicide note and his journal. He also campaigned for LGBTQ+ rights and women’s rights, which we can see when he says “If you're a sexist, racist, homophobe, or basically an asshole, don't buy this CD. I don't care if you like me, I hate you.” His music often dealt with themes of angst, alienation, despair and societal issues. For example, he made the song Polly, which is about the rape and torture of a 14-year-old girl, and rape me, raising awareness for victims of rape and sexual assault. In fact, when he was performing on stage, he noticed a man sexually assaulting someone else in the crowd, and he stopped the entire performance to stop it from happening. He supported smaller bands such as The Melvin’s, covering their songs and performing as their drummer for over 6 months. When he performed on stage with these smaller bands and the crowd didn’t respect them, he would then stand up for them and not play as well on purpose. For these reasons many people believe Kurt Cobain was a legend and should be remembered forever. Their biggest album, Nevermind, sold over 30 million copies and was the 2nd Best selling album of 1991.
On the other hand, some people would argue that Kurt Cobain was a dangerous and evil person who did not deserve his fame and credit. Firstly, Kurt Cobain killed himself on the 5th April 1994 with a shotgun. Shortly after this, an electrician discovered his dead body on the 8th, making Cobain appear on national television. His death romanticised the notion of the ‘tortured artist’, meaning that suffering is a necessary component of artistic genius (Taylor Swift’s newest album ‘The tortured poets department’ hints towards this), which could discourage people from seeking help for their mental health issues. It reinforced the stigma around mental health as in the 1990s there was less awareness and understanding of mental health issues compared to today. Some reports sensationalised his death for example Courtney (his wife) published his suicide note, and they almost glorified his drug abuse, and generally dealt with his struggles insensitively. Fans were distraught, and some of them decided to kill themselves too. On the 10th of April, 1994 over 7,000 mourners gathered in the Seattle centre. Some people argue that Kurt glorified suicide and indirectly killed thousands of his innocent fans. He also smoked cigarettes constantly during interviews, and openly talked about his heroin use, saying that because of the severe stomach pains and the chronic bronchitis that he had, he became suicidal, and that taking heroin was “the only thing that’s saving me from shooting myself right now”. While his death did bring some much needed attention to these issues, it also popularised drug use among teens, which is another negative impact he had on the world. He swore in many of his songs, meaning that any young fans that listened too him may try and copy his language to seem cool.
Cobain covered loads of songs, including “They hung him on a cross” and “Where did you sleep last night” by Leadbelly, “Lake of fire”, “Plateau” and “Oh, me” by the meat puppets, “The man who sold the world” by David Bowie, “Love buzz” by Shocking Blue, “Here she comes now” By the Melvins, and “Molly’s lips, son of a gun and Jesus don’t want me for a sunbeam” by the Vaselines to name a few. While he did give them all credit and got permission beforehand, it was rather uncreative and lazy of him in some people’s eyes. In fact, he was often critical of his own work and felt a deep sense of frustration and dissatisfaction with his music & career direction. He was greedy for killing himself and wasted an amazing life, also killing an entire genre of music, as well as the hearts of all his fans. But what about compassion and empathy? I hear you ask, well the sudden and intense fame that came with Nirvana’s success was a significant burden for Cobain. He often felt uncomfortable with the attention & struggled with the expectations & pressures of being in the public eye. We’ve all seen the crippling effects of the pressure of fame with other cult heroes, that’s why the 27 club is a thing. Cobain’s rise to mass popularity meant that his music was often played by people who didn’t necessarily understand or care for its meaning. I’ve witnessed this first hand when I played guitar for The Rock Project, and the singer there kept singing somethings in the way and not the original Something in the way, which completely undermines the whole purpose of the song. This undoubtedly contributed to Cobain feeling isolated, disconnected, and struggling with his identity. Cobain also had two personas, much like Jekyll and Hyde. This duality is highlighted when he says one thing in an interview, but a completely different story to his bandmates or in his Journal. For example, in his interviews he claimed he didn’t want all the fame, however in his journal and to his bandmates he compared himself to Pearl Jam and other similar bands and said that he didn’t understand how they were able to get so much fame when he believed his music was much more impactful and meaningful then theirs. The duality of having a public persona of being completely non-judgemental and peaceful when discussing other bands and their fame, but in private him saying how jealous he was of these other bands shows just how much he struggled with his own persona, and the sheer amount of fame that he gained so quickly, as he went from only selling a few thousand albums to being talked about worldwide in the span of only a couple of years.
So in answer to the original question, cult icon or bad influence, I would say that Kurt Cobain (last slide – close up of Cobain happy) is most definitely a cult icon, so much so that his profound influence on music and culture continues to this day. His raw, emotive style and themes of angst and alienation in his lyrics connect deeply with listeners. I hope that I have shown you that while Cobain’s struggle with mental health, drug abuse, and eventual suicide raised concerns about the potential for his life and death to serve as a harmful influence, particularly for vulnerable fans, it also brought much needed attention to the fact that far greater support was & is needed for people facing mental health problems and addiction. I hope that now you’ve been presented with Cobain’s life and contribution to society you’ll agree that this should not be overshadowed by his life struggles and tragic death, and after all, no one is perfect. He changed the music industry and the lives of an entire generation, and he will never be forgotten. There will never be another Kurt Cobain.
Thank you for listening to my speech, I hope you have all learnt something new about Kurt Cobain and the impact he has had on the world. Any questions?
2024.05.27 21:05 SudrianSoul Witch's Ghost 25th Anniversary Blu-Ray release + special Hex Girls edition?
 | Okay, I'm gonna use this post to spitball to the moon and back, but seeing as we just received a surprise Blu-Ray release of Zombie Island right around the 25th anniversary of that film... what if we got another one for Witch's Ghost in October of this year? Curiously, the other three members of the Big Four have now been released on Blu-Ray, but not WG... submitted by SudrianSoul to Scoobydoo [link] [comments] And if so (and this is just a fantasy idea), what if we received a special deluxe bundle of the movie themed around the Hex Girls' 25th anniversary? The bundle could include a slipcover embossed with the band's logo, a physical music CD (including Hex Girls songs that have NEVER been officially released, such as the 2010 re-recordings, Trap of Love, Love's Curse, etc), a mini art book of concept art across all of the Girls' appearances, a lithograph of the Girls, a Thorn-themed guitar pick, etc! Mock-up cover by MrYoshi1996 on DeviantArt |