Love Songs 2017 youtube

Previous post The Best Love Songs Ever – Love Songs Of All Time – Greatest Love Songs Collection 2017 – YouTube. Next post Best Nonstop Oldie Love Songs – The Best Oldie 70s Music Hits – Greatest Hits Of 70s – YouTube. Leave a Reply Cancel reply. Required Listening: The 15 Best Pop Songs of 2017; Required Listening: The Best Love Songs of 2018; Required Listening: The 20 Best Rap Songs of 2017; The 12 Best Cover Songs of 2017; The 25 Best ... Top 100 Love Songs 2017 – Best Romantic OPM English Love Songs Collection 2017 [TOP SONGS] BEST English Songs 2017-2018 Hits Chloe Kohanski's 'I Want to Know What Love Is' rehearsal and judges reaction. It was requested to provide more on Chloe's performances so... I removed most o... Lorde’s 2017 Melodrama is a masterclass in capturing women’s emotions, as she dips in and out of the pleasures of love, anxiety, and self-discovery. “Sober” is a playful dive into the fun ... Best Modern Love Songs. Don't forget about today's best heart-warming hits. Rihanna, Adele, Sia and others have been putting out love songs that will one day be classics in their own rights. 'Make You Feel My Love' by Adele. Adele is a vocal powerhouse, and her remake of this Bob Dylan classic is tender, romantic and utterly sentimental. This contemporary love song from Beyonce wasn't the singer's first romantic rodeo. (See: 'Love On Top' or 'Smash Into You' for reference.) But this song feels somehow different from the artist's love songs of years past. Perhaps it's the singer's raw vocals and stylistically unfiltered approach that make this hit feel special.

the blue mountains crew

2015.01.30 06:48 Gatowag the blue mountains crew

A community about Australia's finest hip-hop, the Thundamentals.
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2010.03.03 21:13 PatternPrecognition triple j - Australian Youth Broadcaster

triple j brings the latest, greatest music and the stories that matter to listeners all over the world. The triple j community loves a wide variety of music; with a passion for sharing great tunes from all over Australia, as well as discovering new talent.
[link]


2013.12.29 06:08 Angel Olsen

This is a place for discussing and sharing all things Angel Olsen, the wonderful American folk/indie rock music artist, singer and songwriter.🥦
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2020.09.27 02:51 FurkanE17 Many completions, more words [September Report '20]

I: A lot to say

Let me warn you beforehand. In this progress post, I have a lot (!) to say. I have beaten 5 games this month and abandoned almost as many. The completion amount is actually my highest since MARCH 2019 (!) apart from January, which is a month that is always inflated with completions as I get to work on my "new year resolutions". I don't know what happened but something clicked in my brain in a way for the first time since probably the beginning of 2019 in terms of me wanting to play single player games a lot again. I've never really stopped playing them since Jan' 19 but if you look at the past 5 months before September for example, I've only beaten 4 games in that time.
Or check this stat out, I actually abandoned more games than I have beaten this year, also a sign that I wasn't really feeling single player games that much so far. I didn't really follow gaming news or releases either. This month though, oh boy. Apart from playing and beating a bunch of games, I've added every game I'm interested in to my PC, Playstation, XBOX and Switch wishlists and have now compiled about 200 wishlisted games on all platforms combined. At the end of August, I had even added a bunch of games I had previously abandoned back to my backlog because I got the urge to give them another shot.
I'm also following gaming news closely again, playing coop games with my two brothers, watched the Playstation Showcase etc. So yeah, long story short, I love gaming again and I have a lot to say about my progress in September. Hope you enjoy!

II: Games I've Quit 4

As someone who enjoyed Borderlands (solo) and disliked Borderlands 2 (played it for 10 hours each with two different coop mates), I decided to try out the only Borderlands game I had yet to play (currently playing Borderlands 3 in coop). Borderlands: The Pre-Sequel was a game I thought would be at least as enjoyable as my solo playthrough of the original but it wasn't to be, as the setting just wasn't for me. And what kept me hooked long enough in the original (graphics, gameplay loop) didn't really impress me this time (graphics are still fine). Hopefully Borderlands 3 will get more enjoyable though.
Saints Row: The Third. The game that cost me fucking 1300 €... Anyway, that was a while back now, so I went into this with an open mind. It did cost me a ridiculous sum, so I could at least try to enjoy it, right? Wrong. I didn't like it. It's not my type of humor (99% of the time) and gameplay was annoying because you'd get shot at by hundreds of people at all times. That's of course the intent in this game but it's not for me. I'll still try IV and Gat out of Hell because I enjoyed what I had played of IV in coop but I'll have to officially "retire" my most expensive purchase ever... Didn't even get a fucking collectible.
The first game I abandoned this month was Shiness: The Lightning Kingdom and it took me about 30 minutes to come to that decision. The game didn't look terrible (it didn't look good either) but the visual design immediately put me off. That definitely has more to do with me than with the game but the game didn't do anything to hold my interest. It just puts you into this world and throws approximately 200 "lore verbiage" at you and has just the most basic characters ever. A dumb friend who gets lost and a "cute little companion". So yeah, not impressed and saw no reason to continue after the introductory parts.
Now this game that calls itself Vampyr... oh boy. What a giant fucking mess this game is. First the positive: Atmospherically (graphics, sounds) this game is very solid and I like the early 20th century setting in London as well. The XP system is also pretty nice: Every NPC is unique and has its own backstory and it's up to you, if you want to "embrace" them (kill them) to gain a bunch of XP in order to upgrade your skills. This in turn has "consequences", which I came to understand means that there are more things that want to kill you (?). I've played it for about 6-7 hours and embraced one NPC, so I'm not totally sure about those consequences.
But here come the negatives: First the slight negative. Combat isn't great. You can either have one two-handed weapon or one "on hand" plus one "off hand" weapon. Your on hand weapon can be something like a "Used Bludgeon" and the off hand weapon can be a "Used Stake" or just a normal revolver. That's fine. It's just unfortunate that the camera is in the way a lot. Not all the time but often enough that it becomes noticeable. You can also lock onto an enemy but once you face two enemies, the camera just constantly switches who to lock on to and you're left striking at air whenever you do press "Attack". It's not too bad though. The bad part? The dialogue system. I've played Fallout 4 and I have never ever seen such a terrible dialogue system. Example. You're in a hospital and you meet an old lady who is bedridden. You talk to her. This opens up dialogue options. You can ask her about who she is, what her thoughts are and a bunch of other personal stuff that opens up as you find out more about her. You can ask her quest-relevant stuff as well. As we talk, she gets a bit upset, so I'm presented with three choices: "Shut Up!", "Please calm down" or "I will kill you". I choose the "Please calm down" option. Her reaction? "Oh, threatening an old lady, are you?" Bruh, what? And this is not a one-time occurrence. It happens regularly. And it's not the worst thing. So many times, my question and an NPC's answer just don't align at all. And whenever I choose one of the "unlocked dialogue options", the main character decides to shout at the NPC, even if I ask something like "You're best friends with this guy, right?" or something like that.
Also, there was this couple that blackmailed patients for money. I found out, talked to them and they immediately confessed and were like "so what?". Like it's not a big deal. And that's that, the dialogue doesn't continue after that. Two hours later, I talk to the same person and a dialogue option pops up: "Have you heard anything about these blackmails?". I don't know how or when, but I ask and she says "No..". So the main character responds with: "You seem nervous". And I'm like BRO OF COURSE SHE DOES, YOU ALREADY FUCKING KNOW SHE DID IT. And then it never resolves itself. You can ask every NPC that question and nothing comes of it. You just move on with the questline. Like, what is this mess of a game? Rant over. Some of the dialogue is OK (whenever it's not broken) but for a company like DONTNOD, who are known for Life is Strange, I would've expected more from the story part.
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III: Games I’ve Added 6

I got Into The Breach, Watch Dogs 2 and Where The Water Tastes Like Wine for free through Epic. All three were on my wishlist, so I'm very happy that these were given away. Though none of these are high on my "to play" priority list (don't have such a thing actually), especially Watch Dogs 2, as I still have yet to play the original.
My brother purchased Need for Speed: Payback a while back and I've decided to add it to my backlog. Been a while since I've played a racing game and this one seems to have some kind of a story. Will at least check it out at some point, why not.
Victor Vran and Viscera Cleanup Detail: Shadow Warrior are games I got years ago and for some reason decided to hide in my Steam library. Both games I'd like to give a try at some point, so I've decided to add them to the backlog.
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IV: Games I've Beaten 5

A quick overview of all the games I've beaten this month. Reviews are in alphabetical order. (Bold = Game of the Month)
GRIS
Owned Since: April 18th, 2020
Beaten: September 1st
Platform: PC
Playtime: 3.5 hours
I'm not really the type of person who has a lot to say about GRIS because 1) I'm (thankfully) not someone who went through what the main character is going through (depression) and 2) colorful, vibrant worlds don't really affect me much. I do however know a few people who go or have gone through depression and having listened to their stories and seen a bunch of people online talk about depression, I can definitely empathize with everyone going through depression and other mental disorders. What I can say about GRIS is that I love how the story was portrayed and how you slowly add color to the main character's world and how each level stands for the different stages of grief (I think?). And I really liked the ending as well, though unfortunately there was no audio for the cutscene. Hearing the beautiful soundtrack would have added a lot to the scene obviously, so I had to "re-experience" it on Youtube. I'm giving it a 7 because gameplay was pretty bland mostly but if you like the look of the game, you should 100% check it out.
Rating: 7/10
Eliza
Owned Since: February 10th, 2020
Beaten: September 5th
Platform: PC
Playtime: 7 hours
Eliza is an artificial counselor and you play as Evelyn. Evelyn works as a proxy, someone who voices the lines in therapy sessions that the AI generates. You talk to a bunch of different patients and listen to their problems (mostly interesting conversations) and ultimately give them the help that the AI recommends (relaxation programs, medicine).
Next to all of this, you get to know Evelyn, her boss, her friends and her other contacts. They all have some kind of connection to Eliza (Evelyn does too) and it all culminates to you making a choice.
I've played through the game once and enjoyed my time with it. It's not really among the better ones I've ever played though. I never really started to find the characters Evelyn talks to interesting, so making my choice ended up being about "which choice sucks the least". You might like it more than I do and some conversations are pretty interesting to be fair, not to mention the game centering on an artificial counseling program, so check it our for yourself if you have it on your wishlist (or your library).
Rating: 6/10
Bioshock Infinite
Owned Since: September 5th, 2015
Beaten: September 17th
Platform: PC
Playtime: 12 hours
I've already typed up my AC 2 review at this point because I had so much to say about that game, so I don't know how many characters I have left in this post, which is why I'll keep this a bit shorter.
Bioshock Infinite is amazing. There is probably only one thing that keeps it from being a perfect 10 and that is the combat. It's not that it is bad but 1) after playing the first two, the third is mostly more of the same apart from not fighting big daddies and having worse plasmids/vigors. More weapon variance would have been nice as well, as a lot of weapons just felt very similar to each other.
Bioshock Infinite plays in Columbia, which is a city atop the skies (so basically the opposite of Bioshock 1 and 2) and in my eyes, Columbia is just as beautiful as Rapture. Not only is it extremely intriguing because, holy fuck we're atop the skies, but some of the landmarks are just eye popping. There is a rail system in place as well (sky-lines), which is just amazing because it's such a thrill to not only get on them but also to fight enemies, have an awesome view at the landmarks and just be in the FUCKING SKIES all at the same time. The best part involving them comes early on in the game, when you escape the Monument Tower. I've never experienced such an epic moment in a game. The music that plays when you escape, oh my god! It's just too good. You watch the Tower crumble, a huge bird flies after you, you hang on to those rails for dear life and just get goosebumps to that music pumping in your headphones. 10/10 would escape again. Just check it out on Youtube if you don't plan on playing Bioshock Infinite, it's worth watching.
The story in this game is worthy of a Bioshock plot, as it's just on another level for a video game, yet again. It starts innocently enough. You play as Booker DeWitt and have a debt. "Bring us the girl and wipe away the debt" is a line you hear over and over again in this game. Your objective is to get to Columbia, find Elizabeth and bring her to New York. What follows, and I don't want to spoil anything major, is an epic storyline with twists and turns I never saw coming. Would I want to have a sequel some day? Sure but I don't know what would come after this. Ken Levine and Irrational Games, hats off to you.
Rating: 9/10
Viscera Cleanup Detail: Shadow Warrior
Owned Since: July 17th, 2017
Beaten: September 18th
Platform: PC
Playtime: 1.5 hours
Yes, this game has the same rating as AC 2 but both games try completely different things, so it's not comparable really. This game is more for relaxing while you mindlessly clean up after Lo Wang slicing up a bunch of dudes while AC 2 tells you a story semi-successfully and pads its playing time with repetitive content.
VCD: Shadow Warrior is fine for what it is. I would never try another one though because man, is it infuriating when I can't properly see my bucket, run it over and have another huge mess to clean up after. Better controls and I'm back in, maybe, for another freebie like this.
Rating: 5/10
Assassins Creed II
Owned Since: 2016
Beaten: September 26th
Platform: PC
Playtime: 20 hours
Oh man, do I have A LOT to say about Assassins Creed II. Where do I even begin? I guess, as always, with my previous experiences with the series. When I really got into gaming back in 2015, one of the first games I bought was a used copy of Assassins Creed for my PS3. It's one of the most famous gaming series out there, so it was one of the first games that came to mind. It didn't take long for me to abandon it, mainly because I played The Witcher 3 and Skyrim at that time as well but also because the game wasn't all that great. Years later I retried it, beat it and didn't touch the series for a while. I've since tried AC: Origins, played AC: Freedom Cry (expansion to Black Flag) and had started and abandoned AC 2 in (let me check) March 2018. Wow, it's been that long, damn. Anyway, I then decided that I'd ignore the series from now on because I don't like it but recently, I just had the urge to give the series another shot.
So here we are. I gave it another shot. And let me start with something positive: I definitely will play later releases of this series and will definitely check out Assassins Creed: Brotherhood next. I mean, I own every single game of the series apart from AC: Rogue, so why not. But that's not the only reason. While my review of AC2 will not be amazing (I'm going to give it a 5, which in my rating system means "OK" or "Just about average"), I've seen gameplay of games like Unity and they just look soo much better in terms of graphics and controls.
Let's continue with the positives, shall we? The soundtrack is really good. There is one song called "Ezio's Family", which plays at the beginning (and at other parts as well) when you race your (Ezio's) brother atop a building and the camera pans out to show a shot of Florence. Other songs also fit well with what's on the screen at all times but "Ezio's family" is on another level in my opinion.
Talking about Florence though, the settings of Venice, Tuscany and Monteriggioni (and Florence) are ones that are not usually used in games and I can't imagine how awesome it must have been to experience them, if you've ever been to any of these locations, especially Venice and Florence. Though the game is 11 years old now, so the graphics don't really do those cities justice. Also, while Venice looked really nice, I kept falling into the river - because there's water everywhere - so I don't know how well Venice lends itself to being a setting in games, though that doesn't seem to be something anyone really was bothered by but me.
In terms of story, I thought that the first sequence and how the rest of the game is set up by the events in that sequence was awesome. It's a tired trope (Ezio's brothers and father get killed) but it definitely helps you sympathize with the main character and aid him in his revenge. Was it perfectly set up? No. It happens 30 minutes into the game. You don't really build a relationship with your family up to that point.
I'm also not too opposed to Desmond's story like so many people seem to be. It adds an overarching story to these early AC game and I don't know if the stories about the pieces of Eden could be as well told, if not for a connection to modern day events. The ending went a bit overboard I thought but there is a lot still to be cleared up, so I'll hold off on any further opinions on that for now.
Let's now get to the negatives. Now first up: The game is 11 years old. I get it. I never expected it to hold up to today's standards of gameplay. I didn't expect it to be this bad though.
Let's start with the controls. OH MY GOD THE CONTROLS! The amount of times I just wanted to climb up and would jump into my death. The amount of times I would want to jump on a ledge and miss it for no conceivable reason whatsoever. These things also happened multiple times: Running after someone only to jump on a helpless civilian. Running after someone just to walk into a wall slightly and Ezio just holding on to a ledge for 2 seconds, even though I tell him to let fucking go. Wanting to walk faster only to pickpocket someone unintentionally. Trying to get on a platform just to constantly fall down because some enemy walked into me. There were like 100 other things I can't remember but it was damn infuriating. This imperfection I can at least put on the game's age and it mostly didn't diminish the experience. Wall climbing and parkouring were probably pretty new and different back then, so I can see how people probably weren't bothered by the controls that much.
The side content was boring and repetitive. I know it's a Ubisoft game but AC 2 was on another level. This too I can put on the game's age. The series grew with each iteration, so I'm not too annoyed that the earlier games aren't that good when it comes to side content. For example: There are a handful of races, where you need to beat someone else's time. The quest giver always gives you the same speech and there isn't much else to it. Then there are a bunch of wives who tell you that their husbands cheat on them, so you go beat them up. That's it. There is nothing else to it, no substance and no proper reason why Ezio would give a fuck, especially later in the game. Then there are many assassinations where you randomly assassinate people. Those are fine. Again, there isn't anything else to them but if you enjoy assassinations so much, enjoy. Other than that, you need to collect 330 (!) chests, climb 73 (!) watch towers and find 100 (!) feathers (among other things) to reach 100% synchronization. That's just too many chests and feathers. The watch towers wouldn't be too bad if there wouldn't often be two of them right next to each other for the sole purpose of just adding more watch towers. I guess future titles have even more of them? Man.
Is there any good side content? Yes, the Assassins tombs. There are six of them. In each, you basically turn into the Prince of Persia, do a lot of parkouring with sweaty hands because you don't want to fall off that final ledge because the controls suck and you get rewarded with a seal. Six of those seals you will need to unlock Altair's suit, which is awesome and gives you an actual incentive to explore the tombs, which are nice to explore on their own anyway.
Also, you have the Auditore villa in Monteriggioni. There, you can use floren (currency) to upgrade the villa and its surroundings, put codex pages that you can find in the world on a wall and collect money from a chest that increases based on how far you've upgraded the villa. You can also add feathers that you collect inside a box in your mother's bedroom, who, FOR THE ENTIRE DURATION OF THE GAME, just kneels next to her bed and prays. That's it. That's her whole contribution. And remember, the game takes you from about 1476 to 1499, so who kneels for 20+ years and doesn't age at all? The same goes for Ezio's sister, who's bookkepping in the villa and still looks the same in 1499 as she did in 1476. I know it's a game but that's the kind of detail that you should and can pay attention to, whether your game released in 2009 or 2020.
I've been writing a lot about this game so far, so let me get into the story to end this. And a story is 100% something that either is or is not good. Especially if it's, in its premise, as unique as the Assassins Creed storyline. As I said already, the starting point is pretty strong, though with a lot of potential for more. Ezio is introduced as this free spirit who's only interests are women and having fun. And I get it, if you go from Altair, who is rather stoic to a charismatic and extroverted character like Ezio, it's understandable why people immediately liked Ezio. Do I like Ezio? Yeah. Do I think he's an incredible character? No, not really. In my opinion, his character isn't really developed that well. He just goes from being a naive kid to a naive kid who is also an assassin to a grown man with similar traits to when he was still a naive kid to ultimately someone who can hold introspective speeches in front of crowds and finally can somewhat live in peace with the death of his father and brothers. There isn't really much else to him and the mentioned character development really happens out of nowhere. Within a sequence (chapter) you jump up to foufive years and don't really notice it at all (until he gets all grown up and grows a beard).
The game in my opinion makes the mistake of prioritizing quantity over quality. Instead of focusing more on Ezio, who doesn't really get to talk about himself and his experiences apart from a couple short conversations (the speech, talk to Rosa and five second interactions with his victims), the devs just thought: "Hey, why don't we add 400 targets, so that the game takes longer to beat." And by doing that, two things happened. 1) The sequences focus on building up a target you've previously never heard of before. This means less focus on developing Ezio. 2) The targets come and go as you assassinate them, so there isn't much time to develop them either (apart from the main antagonist of course). Due to that, you are left with a bunch of generic old dudes who all have just about the same reasons for why they are the bad guys (power).
It's a common thing with Ubisoft from my experience. For example, Pagan Min in Far Cry 4 was such an interesting antagonist to me (because of his connections to the main character's mother for example) but at the end, he is just being shown in a handful of cut scenes and heard through a half dozen or so phone conversations. Same goes for Vaas in Far Cry 3, who's so beloved but ultimately also rarely appears in the game. I don't get it but at the same time I do. If you got a year or two between games, it's easier to create content by duplicating boring side missions 10 times than writing up intricate storylines and interesting or well developed characters.
The worst offense happens in Sequence 13, where in order to assassinate the main guy, you're tasked with assassinating NINE (!) of his lieutenants, who you've obviously never heard of before. And the main target? Didn't appear before Sequence 12 and had literally two appearances. When you meet him and when you kill him. It's so bad and it's not easily justified with saying (oh it's an old game). Assassins Creed 1 wasn't a masterpiece by any means (though I might have a different appreciation story wise for it today) but the introspective, long conversations between Altair, his "task-giver" and especially his targets, who mostly had at least different motivations here and there, made for a much more believable and understandable development of Altair's character.
So all in all, AC 2 is rightfully a well-acclaimed game for its time, though it has aged terribly mostly and never really prospered in some aspects to begin with.
Rating: 5/10
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V: Currently Playing

PC
Playstation 4
Xbox One
Nintendo Switch
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VI: 12in12 original list 10/12 completed

Yessir, one more completion with Bioshock Infinite beaten. For my Year in Review post, I'll be taking a look at the average rating I gave to these games to see how successful I was in putting good games into this list. Spoiler: The rating will be very high. Only bad game in there is Pokémon Sword, which is definitely a candidate for Worst Game of the Year. Oh well.
Looking ahead, I'm confident of beating Batman Arkham City but not so confident about Mass Effect 2, as my playing time will dramatically be reduced once uni starts in November. We'll see.
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VII: My Stats

If you're a patient gamer, these past few years have been really good to you. About 25 games out of the 54 I added where games I previously owned, abandoned and then readded. But paying 53€ for the other 30 games is pretty good I must say. Just look at this month: I got Into the Breach, Watch Dogs 2 and Where The Water Tastes Like Wine for free! If you'd stop buying games and just play the ones you get for free you'd be a very busy man. So with all the shit going on in 2020, we at least got that going for us.
Anyway, thank you for reading and best of luck to you all for next month! :)
submitted by FurkanE17 to 12in12 [link] [comments]


2020.09.27 01:44 Albert__Zweistein Nobody seems to share my passion.

First off I have to state that I am not obsessive over my passion, I still lead a normal life, but my hobbies include collecting vinyls and photo restauration.
I am 18 and madly in love with the 60s-80s. The music, fashion, TV shows, movies, way of talking - it has mesmerized me. Ever since the pandemic hit, I had a lot of spare time and I spent it in front of my turntable. Old german Schlager and Chanson really have a special place in my heart, as well as some distinct stars of this era. (For example Margot Werner, Elisabeth Volkmann or Hildegard Knef are some of the most beautiful women to me, alongside having such distinct wonderful voices.) The fact that really hurts my heart is that I cannot share my love and admiration for these amazing actors and actresses, the classic beauties, the music with anyone! Sadly, a lot of them already passed away and I can’t write them a letter / thank them anymore. (I plan on visiting some graves to lay down some flowers though.) What bugs me the most: You might think that YouTube or the internet in general would hold enough data to satisfy my curiosity. Instagram alone holds millions of photos that look identical and lack creativity, everyone can look for anything at any given time. But songs or even film productions as a whole are lost, dammed to rot in an archive. I know that there are rules and copyright restrictions, but it feels like I am on a treasure hunt for pictures and videos, I get super close to my destination and then somebody tells me that had I asked for the video in 2017, they could have given me a copy without any problem at all! These amazing pieces of TV history and old Dias sit in the archives of television companies, nobody wants to watch them, but because I am not researching anything, I too cannot access them.
Maybe somebody on Reddit has advice for my ongoing search. Maybe somebody feels similar or shares my passion, feel free to chat, I’d love to talk to you!
Tldr: Can’t really identify with modern pop culture, longing for long gone celebrities.
submitted by Albert__Zweistein to offmychest [link] [comments]


2020.09.26 03:09 Marshatucker300 My top 10 favorite fnaf characters. Remember it's my personal opinion and experience with the characters everyone has there's.

  1. Orville elephant. He's my favorite out of the mediocre melodies, his voice is great and the idea of an elephant animatronic is pretty cool. I would say more but he didn't really do much.
  2. Nightmare mangle, in my honest opinion he's one of the more underrated Halloween animatronics. Only appearing in 2 games, Ucn and the fnaf 4 Halloween edition. As a plushie he's adorable in the closet. Even though it's not canon when I look at nightmare mangle voices Ethan goes boom is the only one who seem to have done a nightmare mangle voice that I'm aware of and David near and his sister never attempted to do one.
  3. Ballora. I just always been a fan of ballora when it came to sister location, she seemed interesting to actually singing her actual design just something about her I've always enjoyed. That in the fan song dance to the forget is perfect for ballora. That in the story dance with me I actually enjoyed it and it actually had a good ending which is very rare in the Fazbear fright stories, I don't mind dark endings, it's just good to have a good one once in a great while.
  4. Lolbit, I just love the coloring on the lolbit it's really cool, even though you really don't see him much it's also pretty interesting he's kind of a shopkeeper in these spin-off games. He just stands out to me.
  5. Withered Freddy, as much as Five Nights at Freddy's 2 has not been my favorite but it's not the worst. Withered Freddy has always been my favorite, I just prefer him more than withered Bonnie he just doesn't really interest me and the fact he's missing a face and arm is just meh to me, chica, chica never really interest me. I don't have anything against chica it's just I'm not much of a fan of her but she did have a good story with coming home. Withered foxy we don't talk about him. withered Freddy is not that worn down he's just kind of tore up a bit, the rough feel of him just stand out to me more than the original. I remember when ultimate custom night was reaching its final character a lot of people including myself on steam wanted withered Freddy but instead we got fredbear who was just a death coin character... At least we got to see him again in help wanted even though I didn't play the withered mode because it's just night six and Five Nights at Freddy's 2 night 6 gave me PTSD so I try to avoid the night as much as possible. At least he's back in some form and maybe he'll get a voice in special delivery.
  6. Nightmare Freddy, my favorite nightmare animatronic. He looks a lot like a springlock suit which made him stand out to me, his voice is just great, I hope he's coming next month and special delivery and we'll get some more dialogue from him then again we didn't for ballora which is kind of unfortunate. In my opinion nightmare Freddy is the most iconic teaser which is another big reason why I like nightmare Freddy so much. He's worn sadly you don't see him too much in Five Nights at Freddy's 4 thankfully we get to see him more in ultimate custom night and especially help wanted.
  7. Fourth closet circus baby, why I'm not a fan of her game counterparts however I will admit scrap baby is kind of cool, circus baby in the fourth closet novel is just so cool. If you don't want spoiled it's then ignore this number. She was an abandoned endoskeleton Henry's workshop aware of everything going on full of Hate and rage, William took the abandoned adult Charlotte endoskeleton and made circus baby which Elizabeth possessed. She's desperate to get her father's love and attention and you get to see the dynamic of the two. And you get to see them interacting with each other and the idea of her seeing things from two sets of eyes Elizabeth and the endoskeleton is just amazing. In my opinion circus baby in the video game universe is wasted potential. She hinted at she was on William's side and wanted to make him proud after that they dropped it and never brought it up again. While in the book you actually see her on his side and it feels like her potential is completely fulfilled in this version. there's a lot going on with her than just being an everyday animatronic. It's tragic interesting and just amazing.
  8. Bonnie, classic Bonnie. he was always my favorite out of the original animatronic group in the first game. I don't know he always looked so cute to me and chica the creepiest. I remember when sanshee was making Bonnie plushies, I wanted one so bad because he looked so cute. Eventually at Walmart ( after I got a haircut and 2016, it was after I got my fnaf wave 1 figures the hand on my Freddy fell off when I was putting the microphone in his hand. ) I got the glue and I ended up in the merchandise section I don't know what brought me there I just was I turned my head and I saw a Bonnie plush and I was freaking running with that plushie I must have looked like a crazy person but I was so happy to find him. Now my Walmart doesn't even sell Five Nights at Freddy's merch, it was a downward spiral since sister location merchandise. Bonnie is my favorite Five Nights at Freddy's plush. Bonnie has always been one of my favorites.
  9. Mangle I don't know the idea of a torn up animatronic scrapped up just interests me. Seeing the metal under the animatronic the idea of him having two heads it's really cool to me. I just like the idea the wires hanging down just amazing. You can switch number three and number two around if you want.
  10. William afton/springtrap/scraptrap/glitchtrap. He has always been my favorite character. I know what you're thinking why a killer? I don't like him because of that I like him for another reason. After fnaf 2 but before fnaf 3 after what foxy did I was going to leave the franchise permanently. Until I found a comic of purple guy dressing up as golden Freddy with the whole come Little children. ( Yes it's rebornica no I don't really care about her since 2016. ) Because of the interesting design and the mysterious nature of the character I stayed. When the springtrap teaser was Sean I had a strong feeling springtrap was William. Until I seen the trailer and I thought I was going to be a regular animatronic because we didn't know about the springlocks at the time. When it was true William was springtrap he became my favorite animatronic, just because it's William Afton. Fnaf 4 was confirmed but starting with the nightmare chica teaser it became less satisfying to me the game came out and fnaf 4 wasn't my favorite, I mean it should be it's the introduction of the Afton family and the nightmares interesting design, he was just kind of reduced to an Easter egg. Fnaf silver eyes came out and we got to learn more about who he is. They implied that he has a miserable existence, pick last, ignored, forgotten, shouted down in an argument. ( I felt understood because I'm basically an outcast here, and I had/have a hard life. ) Fnaf world was obviously confirmed and it came out but I didn't play it on steam I was waiting for a mobile port because I didn't have a steam account at the time. It was eventually removed and I got it on gamejolt after I asked Nan. It was a very fun game it really doesn't deserve the hate it gets. William was added and he was an overpowered character and was the first time we got to play as him. Sister location happened, which we heard William speak for the first time and he was British which made me tolerate my British accent a bit more. ( Here when I was growing up I'm 20 now, kids my age hated me because my British accent. At public school before I was homeschooled teachers made me take special classes because they thought having a British accent was some type of disability. I keep telling my dad I didn't care about my British accent and I didn't like it. He would only brag about how great UK was. saying they don't hate you because of your British accent which isn't true they did. It's like if you're slightly different to you kids are going to hate you. ) Eventually twisted ones came out and I just didn't care for it it, felt too slow. Then pizzeria simulator happened and in my opinion 2017 was not a good year and it felt too much of a mess and was all over the place. Eventually fourth closet happened which was a masterpiece compared to twisted ones, after a while ucn dropped and when the game first came out and dawko was live streaming it, I heard all the animatronics saying the one you shouldn't have killed, it felt like we were playing as William. ( The man in 1280 is seeming to confirm this. ) Eventually help wanted to dropped and I was glad William was okay as a ghost virus glitch. Now we are here, Fazbear flesh into flesh was good and the men and 1280 felt kind of boring to me but the story is indeed useful. After all these years I'm going to remain loyal to William. I don't like him because he's a killer I like him because he was the first one to accept me, he keeps pushing me forward in the franchise, he does things for me because I made a theory video about him mainly the glitchy springtrap and the Freddy files too on YouTube before coppa I had I think about maybe 20 people and after the theory it exploded to 50 people. If it wasn't for William I wouldn't have met all the amazing friends I know today. That and he makes me tolerate my British accent more than I usually do. I also enjoy toxic springtrap because he looks like a twisted animatronic with those boils flaming spring trap makes perfect sense I don't need to explain this. I just don't care about clown springtrap it just doesn't fit with someone as serious as William.he should have been the ringmaster of the circus since he's the ringmaster and main villain of the game not foxy.
Honorable mentions.
Funtime foxy I like him. he just didn't make the top 10 because of lolbit, I love his voice.
Bonnet I like her she just didn't make the top 10 list.
Rockstar Bonnie, I like him his voice is cool etc.
Jack-o-chica I like her and her teeth was the second most iconic with the see you soon and she is glowing in the darkness.
Montgomery I like him we just don't know much about him.
Roxanne wolf Like with Montgomery I like we just don't know much.
Eleanor One of the better stories of Fazbear's fright to be beautiful she's just a great villain most of the time circus baby seems to steal the story when it comes to her being in the books even if it's a circus baby model she's just a great villain like you think you can trust her when you can then it's a whole Goosebumps type story.
Twisted Bonnie He just has a cool and creepy design I love the teaser etc.
Twisted wolf I like him for basically the same reasons as twisted Bonnie that and I like to see a new animal once in awhile.
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2020.09.25 13:17 House_of_Suns /r/QOTSA Official Band of the Week 21: ALL THEM WITCHES

Let me ask you a question. If you haven’t listened to Kyuss, are you even a QotSA fan?
I suppose it is possible. Some people can be Peter Gabriel fans without being Genesis fans, or Ozzy Osbourne fans without being Black Sabbath fans, or Audioslave fans without being fans of Soundgarden and Rage Against the Machine. And I am pretty sure that there are Foo Fighters fans out there who are not fans of Nirvana -- probably because Foo Fighters are a way better band than Nirvana.
Yeah, I said it. Come at me.
But QotSA without Kyuss? I can’t see it. Maybe I am biased because I just love the low desert sound. Heavy riffs, lots of fuzz ,and earthquake-inducing bass are my jam. That’s why I love Self-Titled so much and why I feel 18 A.D. is chronically underappreciated as a song, and it is an absolute crime that they don’t play it live.
I know I am not alone in this. Kyuss were a genre defining band that created what we now call Stoner Rock. Bands like Valley of the Sun, King Buffalo, Truckfighters, Stonerror, Sleep, Clutch, Mother Engine, Mondo Generator, Duel, and Fu Manchu all continue to write and perform Stoner Rock today. If you haven’t taken a dive into this scene, I totally envy the fact that you get to experience this music for the first time.
Today we are going to check out a great Stoner Rock band that just dropped a new album a few weeks ago. They have more fuzz than a five day backwoods fishing trip. They have bigger jams than Smucker’s, Welch’s, and Kraft combined. They will make your one-hitter hit a home run. You are gonna want to roll down the windows of your low riding caddy and drive all night through the desert.
Yep, you are in for a treat. This week’s band is ALL THEM WITCHES.
About Them
You are familiar with the Hero’s journey, right? That is the literary trope where our protagonists leave their comfortable little world, are mentored through a series of increasing challenges, find themselves at a low point, overcome obstacles, and return home greater and wiser than before?
As with every story of heroes, our group of adventurers from Nashville Tennessee went on a truly epic journey. Drummer Robby Staebler had just arrived in Nashville from Portland, Oregon and was looking for some buds to start a band. He had rolled up at his new home in the back of a moving van, because his mom had decided that he was just not good enough to ride up front. His dad was conspicuously absent. After meeting a sketchy male role model with a Smashmouth-esque chinstrap beard, he was forced by this would-be academic to enslave a small animal. He then ran away from home to engage in a series of escalating gladiatorial fights for money.
Wait. Shit. That is the plot of Pokemon Emerald, not the story of All Them Witches. Damn free emulators. Such a massive time sink.
Mudkip for the win. You are damn right I’m bringing back that meme.
Where was I? I kinda got distracted there. Oh yeah. Robby Staebler was looking for a band. He met guitarist Ben McLeod in a bar (remember when we could meet people in bars?) and then met aspiring drama student Charles Michael Parks Jr. when he took a job at “a corporate hippie store”. Parks Jr. turned those theatre aspirations into being a great frontman and bass player. The band rounded out their membership with Allan Van Cleave, a friend of Staebler, on keys. All Them Witches took the inspiration for their name from the set-prop book entitled All of Them Witches in the 1968 Roman Polanski Spawn-of-Satan movie Rosemary’s Baby.
Let’s get something else out of the way: Yes, I said Nashville Tennesee. The Buckle of the Bible Belt. The Protestant Vatican. The Athens of the South. The Hot Chicken Capital. Yes, the self-proclaimed Music City is perennially associated with Country music, Gospel music and, to a lesser extent, contemporary Christian Rock. There is a Jazz scene. There are active Barbershop groups. The city is the home of the Grand Ole Opry and the Country Music Hall of Fame and Museum. Hee Haw was shot there. It is a city that, until a few decades ago, still had strong ties to the Confederacy.
How the hell did a Stoner Rock band start there?
Quickly, that’s how.
The band were officially formed in February of 2012 (remember when that year was supposed to be the end of the world? C’mon, Mayans, if you really meant 2020 why didn’t you just say 2020?) and released their first album, Our Mother Electricity, on December 6th, 2012. Being from Nashville, the album was of course released on the German heavy psych label Elektrohasch Schallplatten. So just so we’re clear: Stoner Rock was born in the California Desert and then adopted by a band from Tennessee and released on a German label. I just have one question: Where the fuck is Carmen Sandiego?
To be fair, All Them Witches characterized their debut sound as being ‘psychedelta rock’...which kinda sounds like a knock off version of an X-Man. The album is full of heavy jams. Listeners can expect to hear the influence of the blues mixed with deep fuzz and highly compressed vocals. Until it Unwinds is over eight minutes of rolling swagger that will have you thinking about 50 Million Year Trip. Heavy/Like a Witch has some definite Stone Temple Pilots vibes and is a great opener. The true standout on the album is The Urn, a dark and twisted fable that is really the antithesis of everything one associates with music in the Bible Belt. The album was a declaration of war on everything cheery and pleasant to be found in the Music City, and a bold statement from a band finding its feet.
The band were not entirely happy with the production on Our Mother Electricity. In order to assert themselves, they went ultra low-tech. The released the Extra Pleasant EP in July of 2013. It was recorded on a 4-track cassette tape using only two microphones. Production-wise, it is a step back - but when you listen to it on headphones, you can appreciate the raw talent. It is a weird low-fi follow up and almost like listening to a debut rather than the first album. Listening to this EP is like hearing a Pink Floyd cover band’s first original songs that have been mashed up with Clutch and recorded on an iPhone 4. Even with those limitations, tracks like Sludger will stay with you and are worth your time.
While their first two releases had some modest success, All Them Witches really did not get widespread acclaim until the release of their second full album, Lightning at the Door, in late 2013. Every band that has ever released anything on Bandcamp wants to experience the kind of underground word-of-mouth sensation that this album generated. The album is part-concept, part-thematic and has narrative threads that tie it together (e.g. the two tracks The Marriage of Coyote Woman and The Death of Coyote Woman - clearly, not a happy ending for the titular character). If you loved Songs for the Deaf and Rated R, then this is the album that you are going to want to start with as an introduction to the band. It has some amazing tracks - Funeral for a Great Drunken Bird and When God Comes Back are great on their own - but it is best experienced as a complete album. Do yourself a favor: Find a great set of headphones and listen to it front to back. You’ll thank me.
How do you follow up a concept album that gives you unforeseen popularity and access to a broader audience? Do you, say, create a dark follow-up to it, and find the title for that album in a lyric from a hidden track?
Who the fuck would make a weird choice like that?
All Them Witches took a different route and decided to instead channel their inner Beck. The Effervescent EP came out in June of 2014. There are only two songs, each clocking in at about 25 minutes long. Side A is Effervescent and Side B is Tnecsevreffe. The EP is a Rorschach blot of instrumental music in multiple movements that channels incredible musicality and allows you to superimpose your own meaning on it. It is like listening to Pink Floyd and Led Zeppelin have a baby, if that baby was raised listening to coyotes howl and instrumental Kyuss tracks all mashed together on one continuous loop. Fans of the German band Mother Engine will hear definite parallels. The weird thing about Effervescent is its length: it is hard to think of it as an EP, because it is 50 minutes of music. But it has only two tracks, so it can’t really be an album...can it?
Yes, before you start in on me, I know about Sleep’s Dopesmoker. That 2003 one-song album may also have influenced our boys from the Hee Haw city.
So after playing around with longer and more intricate multiple-movement songs, it is no surprise that All Them Witches dropped a 57 minute ‘EP’ in 2015. A Sweet Release hit the airwaves on April 20. Yep, 4/20. No, that was not a coincidence. No, I’m not going to explain that to you. If you gotta ask, you’ll never know. Yes, if anyone doubted at all that this band was a Stoner Rock band, fuck all y’all, the release date is proof. Tracks on the EP range in length from almost 2 and a half minutes to over 24 minutes. It is a spacey, laid-back jam that is at times hypnotic and far-reaching, and equally urgent and immersive.
I’m not saying that you need to be high to appreciate this EP. I’m just saying that listening to Interstate Bleach Party and Howdy Hoodee Slank in the right…mood ...can make you see the color Octarine.
Lightning at the Door and Effervescent cemented All Them Witches as true underground masters of Stoner Rock. 2015’s Dying Surfer Meets His Maker saw them broaden their musical scope and refine their sound. The album (yes, it is an album this time) leans heavily into the Blues with layers of grunge and psychedelia and celtic strings and even harmonicas. (Side note: the last time I heard harmonicas used in Stoner Rock was never. So good on them. I will say this: the hook brings you back.) All these influences were mixed in one big bowl and smoked out the top of a giant bong for full effect. It is at the same time a more technical and more mellow album. Stand out tracks on the album are the hard hitting Dirt Preachers and El Centro and This is Where it Falls Apart.
All Them Witches found themselves touring the small club circuit and then playing bigger and bigger stages. They got invited to festivals like Bonnaroo and were greeted by enthusiastic fans (and clouds of fragrant haze). There is nothing like performing live to hone a band’s edge. By the time Sleeping Through the War dropped in 2017, the boys had been together, touring and recording, for five years. The album is tightly crafted by a tight band. There are even guest vocalists to add texture and harmony to the songs. Less mellow than its predecessor, the album roars right from the opening track - Bulls - through to the closing track, Guess I’ll Go Live On The Internet. 3-5-7 is probably one of the best Stoner Rock tracks you will come across. And when you recognize the tonal mirroring of Am I Going Up with Alabaster, you feel smarter than you actually are. Lots of albums have made me bang my head; very few have made me stop and recognize the musical structure that underpins the melody. That is Tool-level composition right there. Long story short: this is an album put out by a band in its prime and it does not disappoint.
If you remember what happened in English class, what follows the apotheosis for the main character is the falling action or denouement. All Them Witches had peaked with Sleeping Through the War and had nowhere to go but down. The 2018 Lost and Found EP was four (comparatively) short covers and remixes that seemed more like leftovers than an actual meal. Sure, leftovers can be tasty, but All Them Witches fans were used to getting new and better breakfasts, luncheons and dinners and instead got last Tuesday’s reheated bean burrito. Which is fine, if you dig burritos, but it is still not as good as a nice, juicy steak.
Goddam, is anyone else craving a meal? Why is it so smoky in here, and why do I want to eat burritos and Doritos?
Hehe. Dorito. Burrito.
Fuck. I need to focus. Moving on.
Any fan of the band could tell that something was up, and that Lost and Found was at best a B-Side. It soon became evident that something really was up. Keyboardist (and part-time violinist) Allan Van Cleave was out of the band. This left a gigantic Ray Manzarek-esque hole in the band’s sound. The breakup was not a good one, and left some scars.
Van Cleave was replaced by Jonathan Draper, and the band released the album ATW in Sept of 2018. Sonically, the album is sound, but seems to lack the spark of greatness that was in everything prior to Lost and Found. The technical skills are there - Draper knows his way around a keyboard, and that is clearly evident on Fishbelly 86 Onions - but it kinda (IMHO) sounds more like an amazing All Them Witches cover album than an actual effort by the band. It is kinda like Bryan Cranston dressing up in a Walter White mask. It is super close to previous efforts but just not the same, somehow. 1st vs. 2nd is a jam and so is Diamond, and the album has an unrelenting energy, but it is just a bit off the mark.
The band must have felt something similar. Draper was turfed from the group just a month after ATW dropped. Instead of trying to recreate the four member sound that had anchored them since John Cusak and Amanda Peet’s landmark film, they decided to choose a new direction entirely.
When bands shuffle their lineup, it tends to be adding members (like our very own ancient monarchs) or replacing members. Very few bands successfully delete members. Well, OK, that band from Liverpool did successfully delete Stuart Sutcliffe from its lineup and they went on to do alright. Genesis made a successful transition from a 4-piece to a 3-piece when Peter Gabriel left. Oasis got 100% better when Liam Gallagher and his ego both quit. But losing an integral part of your sound - and the keyboards were central in so many songs - would be a tough transition. The band’s fanbase-not-so secretly worried that the lack of keyboardist would spell the end. Thankfully, we were wrong.
All Them Witches took that leap. Digging into their nomenclature and lore, they released a single as a three-piece band on Halloween of 2019. 1X1 is an angry, powerful Stoner Rock jam with a video that is an homage to Jesus Christ Pose. It is a Kyuss-meets-Tool-meets-Led Zeppelin-at-a-Black-Sabbath-concert song that made everyone simultaneously applaud and exhale.
They were back.
The new LP Nothing as the Ideal just dropped on September 4th, 2020. It is a leaner, meaner iteration of the band that seems to have lost no momentum. Everything resonates with power. Saturnine and Iron Jaw evokes Tony Iommi riffage. The Children of Coyote Women is a direct callback to the album Lightning at the Door. 41 is a thumping tune and Enemy of my Enemy is a relentless sonic attack. But most importantly, we get to see All Them Witches evolve as a band but hang on to the core of their sound.
You’re never going to hear this band on your local top 40 radio station. You might catch them on College radio, if the DJ is cool enough. Like most great music nowadays, you have to go looking to find it. But when you do find it, what an amazing experience it can be.
So now you have completed your Hero’s Journey (Twist! It turns out that YOU were the hero all along!) According to the trope, you are now older and wiser because you have ventured out of your comfortable little world.
Now prove me right, hero. Go listen and awaken your inner stoner. And bring me some goddamn Doritos. Cool Ranch for the win.
Links to QOTSA
Josh has included All Them Witches on The Alligator Hour and is known to be a fan of the band.
A recent review of Nothing as the Ideal stated that Charles Michael Parks Jr.’s voice was “Fantastic...like a bassier Josh Homme”.
More importantly, All Them Witches are a Stoner Rock band...and Josh literally invented the genre. It is clear that while the band has grown and evolved and are taking themselves to new places, their music has been inspired by that downtuned, low desert Kyuss groove.
Their Music
Until it Unwinds
Heavy/Like a Witch
The Urn
Extra Pleasant EP
The Marriage of Coyote Woman
Funeral for a Great Drunken Bird
When God Comes Back -- Live and badass
Effervescent
Interstate Bleach Party
Howdy Hoodee Slank
Dirt Preachers -- Live in 2016
El Centro
This is Where it Falls Apart
Bulls
3-5-7
Fishbelly 86 Onions
1st vs. 2nd
Diamond
Under Pressure -- yes, that song.
Open Passageways
Diamond
1X1
The Children of Coyote Woman
Enemy of my Enemy
Show Them Some Love
/AllThemWitches
Previous Posts
Tool
Alice in Chains
King Gizzard and the Lizard Wizard
Rage Against the Machine
Soundgarden
Run the Jewels
Royal Blood
Arctic Monkeys
Ty Segall
Eagles of Death Metal
Them Crooked Vultures
Led Zeppelin
Greta Van Fleet
Ten Commandos
Screaming Trees
Sound City Players
Iggy Pop
Mastodon
The Strokes
Radiohead
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2020.09.25 02:50 LinusRanger13 Konfidential KUWTK Producer Secrets: Season 19, Episode 1 - "Growing Pains"

Hello everybody and welcome to this week’s “Kards Konfidential,” insider notes on last week’s episode of KUWTK. For those of you who have no idea what I'm talking about, please check out this post from last week.
The season 19 premiere gave us a reminder as to why the family has announced the end of the show, as it was filled with meaningless plots that we'll most likely never discuss again. Let's take a moment of silence for Khloe's back, as it must be broken from the all weight she has been carrying in fulfilling the majority of the show's recent storylines.
As a refresher, here are last week's plots:
Cold Open/Scene 1: Malika turning into a disgruntled pelican while baby shopping w/Khloe and Khadijah
Scene 2: Poosh meeting discussing "odd jobs" such as ASMR and professional cuddling
Scene 3: Kim and Khloe get Kris drunk at dinner
Scene 4: Kourtney, Steph Shep and POOSH team go to a professional cuddler
Scene 5: Khloe visits Malika in her new home
Scene 6: Kendall joins Kourtney and Stephanie for lunch and discuss the cuddling sanctuary
Scenes 7/8: Scott directs a photo shoot of Khloe (dressed as Kris) pretending to be drunk for their prank
Scene 9: Malika talking to Khloe about her baby daddy being an absentee father
Scenes 10/11: Khloe and Khadijah @ lunch/in the car and discuss Malika's baby shower
Scene 12: Kourtney hugs Khloe during a morning workout
Scene 13: Malika's baby shower
Scene 14: Kris, Kim, Khloe and Kim cuddle in Kourtney's backyard
Scenes 15/16: Khloe and Scott use their publicist to make Kris think she was actually in drunken photos
To see my previous "Kards Konfidential" posts, check them out here:
Konfidential KUWTK Producer Secrets - Season 17, Episode 12
Konfidential KUWTK Producer Secrets - Season 18, Episode 1
Konfidential KUWTK Producer Secrets - Season 18, Episode 2
Konfidential KUWTK Producer Secrets - Season 18, Episode 3
Konfidential KUWTK Producer Secrets - Season 18, Episode 4
Konfidential KUWTK Producer Secrets - Season 18, Episode 5
Konfidential KUWTK Producer Secrets - Season 18, Episode 6
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2020.09.23 21:36 ChewingSeok It's frustrating seeing people drop NCT and diss them because of their "rotational" concept. Let me explain how this concept works for anyone who is confused.

Recently, A lot of people have been mad at the NCT Voting that they were talking about during last night / this morning's live stream. (And I do agree it's kind of funny they were all sitting in Produce 101 Style. I could hear the Produce music in my head. I can understand why everyone is frustrated at the whole voting concept (though I didn't watch it, so I'm not fully in on the whole thing.) In the comment's of AllKpop's post about the controversy, People were dissing SM's rotational member concept without fully understanding it, and saying that NCT has no true potential to shine because of the rotational member concept. It didn't really help that people were explaining it as a "Japanese" concept, and I think people took that too much to heart, so let me explain and clear up anything that has to do with it.
NCT 2018 and NCT 2020: This is a "unit" but not really explained as a unit that is only really meant to show the full 19-23 members of NCT depending on the time. This isn't really counted as a unit because they constantly change every year or so.
NCT U: Not every single NCT member is in this unit, but a large portion is. This is one of the "rotational" groups. It's rotational because each member who is in the group, promotes with whatever concept "they" (meaning SM) see fit the most. The members do not leave the group once they have promoted in this group, they're there to stay, but NCT U doesn't promote super often enough for it to really show. They've only promoted in 2016-2018.
NCT127: This is a permanent group. The members do not change, with the exception of WinWin (although this was more of a political issue than it was a SM/NCT issue). There may be members added, but it seems pretty unlikely, as there are already 9 members in this unit. The members don't leave. The members don't rotate in and out. They are essentially the "average" K-pop group.
NCT Dream: This is one group now I can understand people may get confused with the most, as the dynamic of the group has changed. NCT Dream's original concept was to be a graduational unit. So this means that once the members turn 20 Korean age (19 International Age) They graduate out of the group. Though due to the anger and outrage of fans, SM has since rescinded this concept and they're now also your "average" K-pop group, and now I believe they have Mark back as well.
WayV (威神V): This is one I see arguments about even by NCTzens. WayV has always been NCT. I don't understand how NOW people realize that they're a unit of NCT when I'm pretty sure SM confirmed this last year, but whatever, now everyone knows WayV is a part of NCT. This is a Chinese Unit. All the members are Chinese / of Chinese Decent. (Fun fact: NCT China was originally supposed to have Korean members, but due to THAAD they had to axe that. It's theorized that two of the members were supposed to be Johnny and Doyoung due to them both speaking Chinese and speaking it well, but this hasn't been confirmed.) They promote in China, and sometimes in Korea, but 97% of promotions are in China. Just like if NCT had NCT Japan, 97% of promotions would be in Japan, and they would also be a part of NCT. There is supposed to supposedly be an NCT Indonesia since SM had opened an office there about 2 years ago, but I'm not sure if that's going to happen and there has been talks of an NCT Japan and an NCT America, but that's a long time from now.
SuperM: Nah I'm just kidding

Now that this is all explained. Lemme clear up some of the complaints that people had on the post:
"NCT is manufactured as hell": Well yeah, So is the majority of other Kpop groups. That's the whole point- What do you think Produce is, any Trainee show, or even any trainees in any sort of company. The whole point is to appeal.
"Their numbers are problematic, I thought 7 was big but what about 11,17,23! You can't fit everyone in a 3 minute song.": You think 7 is big?! Uhm- Honey- Most groups have 7+ members. Girls Generation had 9. Seventeen with 13 members, and at a point during predebut they had 17? What about The Boyz who have 11? EXO had 12 members? Super Junior had 13 as well, and that's not even including Super Junior M who had Henry and Zhoumi just to name a few. Number isn't an issue. To be honest, it's more to love. There was a group that had 23 members during DEBUT, and fit everyone into a song. Not all 23 members will promote together, to think that is ridiculous, and when they do, like NCT 2018/2020, They will most likely perform in one video together and dance, and have the rappers do their parts as well as the vocals. Black on Black is also a bop. Each unit has their members.
"The entire system is messed up. The boys are in a place that minimizes their abilities.": This isn't true. Mark and Taeyong, I'm pretty sure write their own raps. The boys have the option to change their choreography. (Shown by the MarkHyuck fight of 2017 or when NCT127 had new members added.) They also show off a lot of their choreography of their continuously active YouTube channels, which to be honest I really love. They do covers, do dances for various songs, and upload it into YouTube all the time. They even have a channel dedicated to showing them and theirselves. NCT Dance is full of this stuff. Johnny and Mark released a song during Quarantine called QTAH ("Quality Time at Home."). Ability is a very small issue. I haven't really heard one complain towards members showing their abilities, except when it comes to lack of lines in a song, especially a title track. (If I'm wrong, please don't hesitate to let me know.)
"NCT Dream is graduational, So does this mean the other members when they reach a certain age ,at enlistment, will be kicked out of the group? Will they leave? This means they aren't permanent. They're doomed to leave. They deserve to grow up as artist and musicians." : NCT Dream is no longer graduational as of early 2020. Even if it was, they wouldn't be in the group till enlistment? If they wish to leave then that's between them and SM. Nobody has ever been "kicked out" of SM. (Except Jessica, but that's a different story). When they go to Military, that depends on how they feel about wanting to promote when they come back. 9/10 they'll just come back and go back to what they were doing before they went off to military, just like most Boy group members do, unless they wish to go solo. Which happens 9/10 before they go to military (depending on their popularity) anyways.
"SM has been trying to create a group like this for 2 decades, ELF Squashed it.": Correct me if I'm wrong but I don't think that was entirely squashed? This is non NCT related but Super Junior did do the Unit Concept? It's just the rotational member group idea didn't work out as Super Junior 2005 is now just Super Junior. I think people loved the members of Super Junior enough to not really continue with the rotational idea.
"Why do they have so many members, why do they just promote Mark and Taeyong? Taeyong spends most of the time as center and has the most screen time. When you have 23 members in a group you can't except to give everyone a line and not everyone will get screentime." : I understand the issue, and a lot of NCTzens do not 100% like the idea of Mark and Taeyong having all the screen time. But SM doesn't just promote.. Mark and Taeyong? They promote most of NCT. The only reason you see Mark and Taeyong more is because Mark and Taeyong are popular amongst International Fans, while Jaemin may be more popular in Korea and WinWin is more popular in China. But Among NCTZens, There are popular members, like Jaehyun, Johnny, etc. It's all about people looking more into them. As for Taeyong being center, it's because of his looks and the fact that he can rap and dance. He's the visual of the group, so it's not really shocking that he's center?? Plus he did learn how to Dance within a year. So...
"NCT is more of a brand then a group. Let's say NCT becomes globally popular. Would the public even know more than one member of a group?" : Yes. That's the point. I'm glad you understand. NCT is a brand. NCT is a brand of Units. Just like the 48 of AKB48, Produce48, etc. NCT is a brand name, the whole point of it is to become globally popular, and you know how? They promote in different units that are designated to promote in different countries. *GASP* I know, shocking right? I would say though NCT 127 is just to be your stereotypical "kpop" group, that promotes in Japan, China, and Korea, as well as in America, and WayV is only for China, and Dream seems to be for Korea, and maybe Japan. I mean, people know who Shotaro and Sungchan are in NCT and they just debuted yesterday/this morning. It's only from an outsider perspective that people know Mark and Taeyong, because they're commonly known as the two most popular members of said group, hence why the GP would only know Mark, Taeyong, Lucas, Ten, and arguably, WinWin, since he's pretty popular in China.
It seems like people don't really understand how the NCT system works are speaking about the Produce-esque voting system controversy, and it's causing more confusion even amongst fans. I kind of feel like if you don't understand NCT's system but try to speak on this controversy, you'll just cause more confusion. Everyone (at least in the comments of the article) seems to think all 23 members of NCT are promoting together 24/7 and now SM is going to do this produce style where they get rid of members and not let the promote anymore. THIS IS EXTREMELY WRONG. All 21 previous members are already in groups and are already promoting. The two new members will be promoting at some point in time with different/new units. It would be literal hell if SM said fuck the rest of you, You aren't promoting anymore. That's ridiculous to think.
My understanding (before SM came out with their statement) is that You would vote for a specific member once you buy the album and the 6+ most popular members would promote together essentially a unit. Get a Christmas Song, Do magazine shoots, etc. I can see how this is really fucked up, especially towards the new members, because people do not know them and will not vote for them and vote for their faves. This has NOTHING to do with NCT's system. I can understand if you don't like the concept of the group, but to shit talk the concept when you don't fully understand is kind of rude.
This is essentially a produce style vote for popularity, and THAT's where the problem comes in. It's unfair for the members to be treated like this. I haven't seen the statement, but hopefully it clears up even more of this BS to me, but none of this has to do with SM's System for the boys.
submitted by ChewingSeok to kpoprants [link] [comments]


2020.09.23 11:11 ryandtw Hinatazaka46 1st Album "Hinatazaka" (ひなたざか) Info Megathread

Hinatazaka46 1st Album

This thread is best viewed on new Reddit due to inline images.


いつだって、未来は味方だ (\"The future is always on your side\")
Hinatazaka (Hiragana: ひなたざか) is Hinatazaka46's first album since renaming from Hiragana Keyakizaka46 in the spring of 2019 (Hiragana Keyakizaka46 released an album Hashiridasu Shunkan (走り出す瞬間) on 20 June 2018). This album features Hinatazaka46's first four singles - Kyun (キュン), Doremisolasido (ドレミソラシド), Konna ni Suki Natchatte Ii no? (こんなに好きになっちゃっていいの?), and Sonnakotonaiyo (ソンナコトナイヨ), plus selected B-sides from these singles - as well as six new songs, led by Azato Kawaii (アザトカワイイ), two unreleased songs and three songs from the Hiragana Keyakizaka46 era (2016-18) re-recorded for this album. Hinatazaka was released on 23 September 2020.

Release Information

Version Price (JP 10% tax) Bonuses
Deluxe Limited Edition (Type-A, CD+Blu-ray) ¥5,445 (¥5,990) Deluxe packaging, three-sided box, photobook, special event ticket application form
Limited Edition (Type-B, CD+Blu-ray) ¥4,909 (¥5,400) Three-sided box, photobook, special event ticket application form
Regular Edition (CD Only) ¥2,545 (¥2,800) None
A Complete Edition package of ALL 27 songs is available digitally (Apple Music/iTunes Store, Spotify, YouTube Music, mora, Recochoku, etc).

Overview of Songs

Kyun (1st Single) Doremisolasido (2nd Single) Konna ni Suki ni Natchatte Ii no? (3rd Single) Sonnakotonaiyo (4th Single)
JOYFUL LOVE Kitsune Honto no Jikan Seishun no Uma
Tokimeki Sou My god Kawa wa Nagareru Nazee
Footsteps Cage Masaka Guuzen...
Dash&Rush

New Songs Previously Unreleased Hiragana Keyaki Re-Recordings
Azato Kawaii Overture Dare Yori mo Takaku Tobe! (Futari Saison B-side, 2016)
My fans Hinatazaka (Kanji - 日向坂) NO WAR in the future (Kaze ni Fukarate mo B-side, 2017)
Tada Gamushara ni Yakusoku no Tamago (Hashiridasu Shunkan album, 2018)
Doushite Ameda to Ittandarou?
See Through
Kono Natsu wo Jam ni Shiyou

Deluxe Limited Edition (Type-A)

https://preview.redd.it/q968ntbb3vo51.jpg?width=1000&format=pjpg&auto=webp&s=c6363d553d481b48f1058f7e57a51fd9fe10815a
CD (SRCL-11580)
Track Title Participating Members
1 Overture None
2 アザトカワイイ (Azato Kawaii) Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
3 青春の馬 (Seishun no Uma) Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
4 ドレミソラシド (Doremisolasido) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
5 この夏をジャムにしよう (Kono Natsu wo Jam ni Shiyou) Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
6 キツネ (Kitsune) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
7 ソンナコトナイヨ (Sonnakotonaiyo) Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
8 こんなに好きになっちゃっていいの? (Konna ni Suki ni Natchatte Ii no?) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
9 キュン (Kyun) Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
10 ホントの時間 (Honto no Jikan) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
11 My god Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei
12 Dash&Rush Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
13 誰よりも高く跳べ! 2020 (Dare Yori mo Takaku Tobe! 2020) Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
14 日向坂 (Hinatazaka) Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
15 JOYFUL LOVE Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho
Blu-ray (SRCL-11581)
  • Azato Kawaii Music Video
  • Hinatazaka46 Debut Countdown Live!! in Yokohama Arena ~Hiragana Keyakizaka46 LAST LIVE~ (2019)

Limited Edition (Type-B)

https://preview.redd.it/a7y9tj7c3vo51.jpg?width=1000&format=pjpg&auto=webp&s=316c1ef8193aedc6ac60d9659948c6a58e09f351
CD (SRCL-11582)
Track Title Participating Members
1 Overture None
2 ドレミソラシド (Doremisolasido) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
3 ナゼー (Nazee) Higashimura Mei, Kawata Hina, Matsuda Konoka
4 NO WAR in the future 2020 Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
5 ただがむしゃらに (Tada Gamushara ni) Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
6 アザトカワイイ (Azato Kawaii) Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
7 Cage Higashimura Mei, Kanemura Miku, Kawata Hina, Nibu Akari
8 どうして雨だと言ったんだろう? (Doushite Ameda to Ittandarou?) Kato Shiho, Saito Kyoko, Sasaki Mirei
9 川は流れる (Kawa wa Nagareru) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
10 こんなに好きになっちゃっていいの? (Konna ni Suki ni Natchatte Ii no?) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
11 キュン (Kyun) Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
12 ソンナコトナイヨ (Sonnakotonaiyo) Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
13 キツネ (Kitsune) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
14 青春の馬 (Seishun no Uma) Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
15 JOYFUL LOVE Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho
Blu-ray (SRCL-11583)
  • Azato Kawaii Music Video
  • Hinatazaka46 Debut Countdown Live!! in Yokohama Arena ~Hinatazaka46 FIRST LIVE~ (2019)

Regular Edition

https://preview.redd.it/hltmgdqc3vo51.jpg?width=1000&format=pjpg&auto=webp&s=ecf94098462fc6076ce022ddbaf7434e33edff32
CD Only (SRCL-11584)
Track Title Participating Members
1 Overture None
2 キュン (Kyun) Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
3 ドレミソラシド (Doremisolasido) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
4 こんなに好きになっちゃっていいの? (Konna ni Suki ni Natchatte Ii no?) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
5 ソンナコトナイヨ (Sonnakotonaiyo) Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
6 JOYFUL LOVE Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho
7 ときめき草 (Tokimeki Sou) Iguchi Mao*, Ushio Sarina, Kakizaki Memi*, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
8 Footsteps Kato Shiho, Sasaki Kumi, Sasaki Mirei, Takamoto Ayaka, Kosaka Nao
9 キツネ (Kitsune) Iguchi Mao*, Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
10 まさか 偶然… (Masaka Guuzen...) Tomita Suzuka, Matsuda Konoka
11 青春の馬 (Seishun no Uma) Ushio Sarina, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano
12 アザトカワイイ (Azato Kawaii) Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
13 My fans Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
14 See Through Kanemura Miku, Kosaka Nao
15 約束の卵 2020 (Yakusoku no Tamago 2020) Ushio Sarina, Kageyama Yuuka, Kato Shiho, Saito Kyoko, Sasaki Kumi, Sasaki Mirei, Takase Mana, Takamoto Ayaka, Higashimura Mei, Kanemura Miku, Kawata Hina, Kosaka Nao, Tomita Suzuka, Nibu Akari, Hamagishi Hiyori, Matsuda Konoka, Miyata Manamo, Watanabe Miho, Kamimura Hinano, Takahashi Mikuni, Morimoto Mari, Yamaguchi Haruyo
Center in bold / \[Iguchi Mao graduated from Hinatazaka46 February 2020](https://www.reddit.com/Sakamichi/comments/f2mqmu/graduation_alert_iguchi_mao_announces_graduation/),* Kakizaki Memi June 2019

Complete Edition

https://preview.redd.it/45jqmstu2vo51.jpg?width=1400&format=pjpg&auto=webp&s=509a6967dd4e134370c543c62cfd8d592aac05a4
Digital
  1. Overture
  2. キュン (Kyun)
  3. ドレミソラシド (Doremisolasido)
  4. こんなに好きになっちゃっていいの? (Konna ni Suki ni Natchatte Ii no?)
  5. ソンナコトナイヨ (Sonnakotonaiyo)
  6. JOYFUL LOVE
  7. キツネ (Kitsune)
  8. 青春の馬 (Seishun no Uma)
  9. アザトカワイイ (Azato Kawaii)
  10. この夏をジャムにしよう (Kono Natsu wo Jam ni Shiyou)
  11. ホントの時間 (Honto no Jikan)
  12. My god
  13. Dash&Rush
  14. 誰よりも高く跳べ! 2020 (Dare Yori mo Takaku Tobe! 2020)
  15. 日向坂 (Hinatazaka)
  16. ナゼー (Nazee)
  17. NO WAR in the future 2020
  18. ただがむしゃらに (Tada Gamushara ni)
  19. Cage
  20. どうして雨だと言ったんだろう?
  21. 川は流れる (Kawa wa Nagareru)
  22. ときめき草 (Tokimeki Sou)
  23. Footsteps
  24. まさか 偶然… (Masaka Guuzen...)
  25. My fans
  26. See Through
  27. 約束の卵 2020 (Yakusoku no Tamago 2020)

Oricon Rankings

Day Daily Sales Cumulative Sales
1 (22 September) 121,044 121,044
2 (23 September) 46,431 167,475
3 (24 September) 14,890 182,365
4 (25 September)
5 (26 September)
6 (27 September)
Weekly Total

External Links

Previous Threads on Sakamichi

submitted by ryandtw to Hinatazaka [link] [comments]


2020.09.22 20:42 IndieheadsAOTY Album of the Year 2014 #22: Alvvays - Alvvays

Album of the Year 2014 #22: Alvvays - Alvvays
Hello everyone and welcome back to another day of Album of the Year 2014, the daily write-up series where the users of indieheads talk their favorite albums of 2014. Up today, we've got u/simonthedlgger talking what is possibly this subreddit's collective favorite album of 2014 (if the Album of the Decade tournament is anything to base this statement off of), Alvvays' self-titled debut, Alvvays.
July 22nd, 2014 - Polyvinyl, Royal Mountain, Transgressive
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Background
Alvvays are a Prince Edward Island-based dream pop five piece formed in 2011. They recorded their self-titled debut in the spring of 2013 and issued cassette copies to fans and industry folks until signing with Polyvinyl Records, who released the album in the summer of 2014. The record received near unanimous praise, as did the 2017 followup Antisocialites.
Review by simonthedlgger
“Rocket summer. The words passed among the people in the open, airing houses. Rocket summer. The warm desert air changing the frost patterns on the windows, erasing the art work. The skis and sleds suddenly useless. The snow, falling from the cold sky upon the town, turned to a hot rain before it touched the ground. Rocket summer. People leaned from their dripping porches and watched the reddening sky. The rocket lay on the launching field, blowing out pink clouds of fire and oven heat. The rocket stood in the cold winter morning, making summer with every breath of its mighty exhausts. The rocket made climates, and summer lay for a brief moment upon the land....”
Have you ever read The Martian Chronicles? A 1950 short story fixup that manages romantic, sci-fi pulp against the eternal loneliness of outer space. For certain humans, life on Mars is brilliant adventure; for others, a new world only underscores the perpetual melancholy of existence.
In Bradbury’s space opera, unlike Philip K. Dick’s or George Lucas’, there’s room for neither stark nihilism nor unfaltering heroism. His fantasy exists between. For, that is every path through space: a streak of color blazing the cosmos, pioneers astride, but on either side, only yawning void.
This is where my thoughts inevitably lead listening to Alvvays.

10. . . .

“The rockets came like locusts, swarming and settling in blooms of rosy smoke.”

Alvvays is a dance of subtle macabre. The overt through-line is “bright and cheery,” deeply layered in comforting dream fuzz, and yet individual components remain isolated, suspended in ether: each track a planet unto its own orbit, reverb echoing gaseous rings. It’s easy to close your eyes and imagine a guitar or vocal alone in a room, far removed from the rest of the song.
Throughout "Ones Who Love You," guitars roar as rocket engines through a universe of whirling synths, yet there remain huge vacuums of space, gaps in the wall of sound. No matter how many twinkling leads, punchy snares, or glowing synths, the plaintive undercurrent persists: "When the wheels come off I'll be an astronaut,” Molly Rankin declares, “I will be lost in space, I will be skipping rocks." The vocal hovers over the composition, a desire to detach from humanity stated clearly in a refrain blending natural disasters and doomed space exploration with riding bikes and skipping rocks.
The gravity of death by lightning is further undercut by an astral siren’s call: “Ooo ooo oo ooo oooo, Ooo ooo oo ooo oooo oo, oo oo ooo….” It's hard not to smile, humming along, spiraling out of orbit.

9. . . .

“I'm numb and I'm tired. Too much has happened today. I feel as if I'd been out in a pounding rain for forty-eight hours without an umbrella or a coat. I'm soaked to the skin with emotion.”

"Next of Kin" is another glittering indie pop gemstone that, on further inspection, is all bloodied at its core. The verses feel like a dare, a gothic pronouncement about to be made in stark minor -- but a bit like Fleetwood Mac’s “Dreams”, there’s no release here ... in this case, however, the restlessness is not an unresolved chord progression, but rather Alvvays turning from the darkness they suggest, always presenting violence and depression in a palatable major key.
"If I'd known you couldn't swim," Rankin playfully professes, "we would never have gone in," before beaming, merrily: "I left my love in the river."
There's no dancing around it, yet it feels like a trick has been played: here we have a fun, airy pop song about your beau drowning. Another love conquered by earthly elements.

8. . . .

“Science is no more than an investigation of a miracle we can never explain, and art is an interpretation of that miracle.”

It’s fitting that the most well known cut off Alvvays is an extended witticism on suburban marital bliss dressed up, as usual, in simple, infectious melody, christened by earthly birds call. “Archie, Marry Me” is like the third act of a romantic comedy diving suddenly into profound existential crises: “Too late to go out, too young to stay in. . . .”
Alec O’Hanley warps discordant second verse guitar to sound of engine trouble, but Rankin assures there's no need to panic. Her voice never broaches its comfort zone, but even the suggestion is too much to bear: the final “Marry meeee, Archie!” is both triumphant and barely restrained melancholia.
By this point Alvvays' message has been laid bare: it is best to escape troubled relationships in the most definitive sense possible; why worry about alimony or adultery when you could be off wandering the edges of the known universe?

7. . . .

“'It is good to renew one's wonder,' said the philosopher. 'Space travel has again made children of us all.'”

“Adult Diversion” has the tempo of gathering energy for liftoff -- a roll of drums in one quadrant, cycling guitar melody in another; “Adult Diversion” is constantly jetting forth. Gleaming instrumentals play another distraction from the dark content beneath, that recurring motif: “When it's dark outside your house you won't let anybody out, you're keeping a dead girl in the closet.” Who else makes death so catchy?

6. . . .

“Can't you recognize the human in the inhuman?”

"The Agency Group" opens with more O’Hanley distortion sounding like ship engines. Similar to the “Ones Who Love You” chorus, the hook serves as something of a mission statement for the record: "When you whisper you don't think of me that way, when I mention you don't mean that much to me...to me. . . ."
Exceedingly pretty sounding, an elegant melody, but one that begs the question: isn’t human emotion so passé, isn’t it easier to feel nothing at all? How does Alvvays keep slipping death and misery by in such bubbly fashion?

5. . . .

“There was a smell of Time in the air tonight.”

A spectral take on 1950s ballads, dance closely to “Dives” under moonlight with someone you love, even if only for that moment in time. Overheard, yonder, blinking stars are endless. Aren’t they? No. In fact, the stars are past, many millions of years old already as you gaze … Hold someone close and impermanent, then.

4. . . .

“We earth men have a talent for ruining big, beautiful things.”

From atop a cake, she proclaims: "Corners begin to repeat, I think we're getting lost. We walked to the end of the street but we were bitten by the frost." Once more, earth's elements play the background to a human relationship soured, ending. How much longer can we overlook earth as the common denominator to our troubles?

3. . . .

“Why live? Life was its own answer. Life was the propagation of more life and the living of as good a life as possible.”

The "Party Police" lead is iconic and haunting. The guitar has the quality of a doomed radio transmission, distress call from an abandoned planet. The torch carried through the "Ones Who Love You" and "The Agency Group" choruses burns for the entirety of the track: wandering through a forest stands in for a lover's guarded mind as fog, rain, and ceaseless storms dominate the world, both the cause and effect of young love turned staid and sour.
Rankin's voice remains a subdued plea until a fleeting falsetto ("You could just stay here with me….”), then resigned snarl ("If you don’t want to, you don’t have to...!!").

2. . . .

An aside:

I spent childhood music obsessed. Writing songs before I had an instrument, forming and ditching and reforming bands before I learned my second chord. Throughout adolescence and young adulthood, making and listening to music became critical, the only means I had of making sense.
As college drew to a close and life started to happen at an increasingly consistent rate, I fell out of the loop. I became a person (no shade) who keeps up only with the output of a few artists they've known and loved for a long time, though there were long stretches -- months, years -- of hearing no new music at all. Inconceivably quiet days.
Then, in many ways, life stopped happening altogether. Relationships, work, overall mood and worldview -- for several years these things escaped me. Ignoring the advice of family and professionals, I existed, but only just. Sparing details, I was miserably depressed. I desired badly to become lost in space, and desired little else.
After varying low points, I began to reassemble. Unsurprisingly, music played a leading role.
I found new songs in waves, the first coming through random Grantland articles: profiles on Waxahatchee and Courtney Barnett. I listened to "Air" and "Avant Gardner" for days without further exploration, afraid no other songs could be so perfect, that finding new artists to love could not be so simple.
Then I remembered, in a moment of obvious enlightenment, that music was necessary, that I'd been withholding from myself something I loved for reasons I could no longer pronounce.
My first foray into a playlist with the explicit goal of finding new artists dispelled whatever remaining anxieties. There were a number of great tracks, many I still listen to today, years later, but nothing as immediate as "Party Police." I played it again and again before daring to hear out the rest of the discography for fear of disappointment (spoiler: none).
Alvvays, and Antisocialites, are perfect records. I listened to these perfect records while moving into and out of various apartments, driving the country back and forth writing about live music (oh, those days), even learning to record my own songs after more than two decades of writing them.
Two years after discovery, I crossed off the last Must See from my live list: I saw Alvvays three times over the course of four nights, which included a memorable trip to NYC. At Warsaw, Alvvays dressed in colors befitting a 1950s sci-fi dust jacket. They performed under dense waves of intergalactic blue and pink. They did not strike a single false note over four hours. A tighter live unit I've yet to encounter.
At one point, Rankin relayed, very matter-of-factly, an inability to rely on anything: "Can't buy into astrology, and won't rely on the moon for anything," and moments later, "Don't read into psychology and won't rely on your mood for anything." There’s a similar moment in “The Agency Group” bridge: “You know that it won't take much longer now that I'll be gone...it's gone, the sun is gone.”
That is what Alvvays, and Alvvays, do: supplant the intimate with the galactic, make mountains of molehills, then describe the ensuing avalanche in flowery, sardonic poetry. At times, it's intentionally histrionic, overly tongue in cheek, but also true: sometimes it feels like the sky is falling, and it's nice to be able to hum along, tap your toes, dance a little as the atmosphere crashes around you.
I returned to New York the following summer to see Gary Gulman tape his special "The Great Depresh." Unbelievably, the taping was followed by free shows in Central Park by Japanese Breakfast and Alvvays. I didn't feel myself coming "full circle" by any means; life continues to happen -- still, at times, escaping me. But those were warm June nights. It felt good to be outside, under starry skies I could enjoy, rather than look to as a sign of escape.

1. . . .

“I'm not anyone, I'm just myself; whatever I am, I am something, and now I'm something you can't help.”

We do not have liftoff. This is touchdown. Onto the Red Planet.
Mars is romantic, in the literary sense. Ares’ rugged terrain represents the erosion of love, according to Rankin. Bradbury held similar beliefs. Previously, escaping natural disasters like lightning and drowning was a metaphor for abandoning failing love. No more. None of this dime novel fun, these glamorous synths: space travel is lonely. It’s the fucking loneliest.
There’s a quick cut of distorted sound waves to end the album, and by now we should know what this represents: engine failure, end transmission, marooned on the red planet, alone … at least, until the next pilgrim arrives.
“The Men of Earth came to Mars. They came because they were afraid or unafraid, because they were happy or unhappy, because they felt like Pilgrims or did not feel like Pilgrims. There was a reason for each man. They were leaving bad wives or bad towns; they were coming to find something or leave something or get something, to dig up something or bury something or leave something alone. They were coming with small dreams or large dreams or none at all...it was not unusual that the first men were few. The numbers grew steadily in proportion to the census of Earth Men already on Mars. There was comfort in numbers. But the first Lonely Ones had to stand by themselves...”
Favorite Lyrics
When lightning strikes
I'll be on my bike,
I won't be stuck inside.
I will be taking flight.
And when the wheels come off
I'll be an astronaut,
I will be lost in space.
I will be skipping rocks
  • "Ones Who Love You"
Too late to go out,
too young to stay in.
They're talking about
us living in sin
  • "Archie, Marry Me"
His arms so hard, I saw his skin through his t-shirt;
The grass so tall, we knew we wouldn't be found.
We climbed into the stream so no one would be heard
and in no time at all, there wasn't a sound
  • "Next of Kin"
Fighting through the fog -- I can't believe it rained all summer long!
When every day's a hurricane, you know there's something wrong....
I see you every day. It's hard to figure out what happens next;
I cannot decipher conversation in your head.
  • "Party Police"
An outcast of modern society
suffering from a case of sobriety
  • "The Agency Group"
I waited for you out here, but that was just delusional
and I've painted all these pictures of Earth
but that's unusual, unusual to you.
  • "Red Planet"
Talking Points
  • How do you compare Alvvays and Antisocialites?
  • Do you associate Alvvays more with their midtempo indie pop sound, or their deceptively morose lyrical content?
  • Did you know Alvvays says “fucking” on this record? It floored me upon realization!
  • What are your expectations for LP3?
  • And finally, where does Alvvays rank on your 2014 list?
Thank you to simonthedlgger for their great write-up! Up tomorrow, we may or may not have a write-up for you, honestly. I can't lie and say that the series has maintained it's steam well, and with tomorrow's planned write-up being delayed, we may or may not have something for you tomorrow. I'll still post the schedule as is in the comments below, but as always it is subject to change. Hopefully we'll see you tomorrow and if not, the day after that! In the meantime, discuss today's album in the comments below.
submitted by IndieheadsAOTY to indieheads [link] [comments]


2020.09.22 16:16 ReelStats These are the statistical top 500 movies of all time, according to 23 different websites

Hey everyone, great to be back again. Some of you might remember a similar title from a post I made back in April, where I made a list of the top 250 movies with 13 sources, or a preview of this list I made last month.
I want to emphasize that this is NOT an official ranking nor my personal ranking; it is just a statistical and, personally, interesting look at 500 amazing movies. These rankings reflect the opinions of thousands of critics and millions of people around the world. And I am glad that this list is able to cover a wide range of genres, decades, and countries. So before I get bombarded with "Why isn't X on here?" or "How is X above Y?" comments, I wanted to clear that up.
I sourced my data from Sight & Sound (both critic and director lists), TSPDT, iCheckMovies, 11 domestic websites (Rotten Tomatoes, Metacritic, IMDb, Letterboxd, TMDb, Trakt, Blu-Ray, MovieLens, RateYourMusic, Criticker, and Critics Choice), and 9 international audience sites (FilmAffinity, Douban, Naver, MUBI, Filmweb, Kinopoisk, CSFD, Moviemeter, and Senscritique). This balance of domestic/international ratings made the list more well-rounded and internationally representative (sites from Spain, China, Korea, Poland, Russia, Czech Republic, Netherlands, and France).
As for my algorithm, I weighted websites according to both their Alexa ranking and their number of votes compared to other sites. For example, since The Godfather has hundreds of thousands of votes on Letterboxd but only a couple thousand on Metacritic, Letterboxd would be weighted more heavily. After obtaining the weighted averages, I then added the movie's iCheckMovies' favs/checks ratio and TSPDT ranking, if applicable. Regarding TSPDT, I included the top 2000 movies; as an example of my calculations, Rear Window's ranking of #41 would add (2000-41)/2000=0.9795 points to its weighted average. I removed movies that had <7-8K votes on IMDb, as these mostly had low ratings and numbers of votes across different sites as well. For both Sight & Sound lists, I added between 0.5 and 1 point to a movie's score based on its ranking, which I thought was an adequate reflection of how difficult it is to be included on these lists. As examples, a #21 movie would have 0.9 points added while a #63 would have 0.69 points.
So without further ado, the statistical top 500 movies ever made. I separated the scores into overall, critics, domestic, and international columns to make comparisons easier. This list on Letterboxd.
Ranking Title Overall Score Critics Domestic International Year Director
1 The Godfather 93.89 97.73 90.50 89.36 1972 Francis Ford Coppola
2 The Godfather: Part II 91.93 93.30 89.04 88.06 1974 Francis Ford Coppola
3 Seven Samurai 91.05 97.38 87.63 85.90 1954 Akira Kurosawa
4 12 Angry Men 90.45 95.45 88.74 88.62 1957 Sidney Lumet
5 City Lights 89.94 96.75 85.67 85.93 1931 Charlie Chaplin
6 The Good, the Bad and the Ugly 89.45 91.20 87.81 86.59 1966 Sergio Leone
7 The Shawshank Redemption 89.41 82.95 89.49 89.18 1994 Frank Darabont
8 Psycho 89.29 95.23 85.70 85.01 1960 Alfred Hitchcock
9 Modern Times 89.28 95.55 85.21 85.37 1936 Charlie Chaplin
10 Schindler's List 89.08 93.80 87.22 87.29 1993 Steven Spielberg
11 Pulp Fiction 88.85 92.60 87.69 86.42 1994 Quentin Tarantino
12 Rear Window 88.63 97.65 85.40 83.33 1954 Alfred Hitchcock
13 One Flew Over the Cuckoo's Nest 88.55 87.38 86.28 86.97 1975 Miloš Forman
14 Apocalypse Now 88.54 93.85 85.24 83.48 1979 Francis Ford Coppola
15 Tokyo Story 88.49 98.30 85.16 83.76 1953 Yasujirō Ozu
16 Spirited Away 88.34 93.78 86.80 85.91 2001 Hayao Miyazaki
17 GoodFellas 88.03 91.48 87.00 84.03 1990 Martin Scorsese
18 Vertigo 88.02 95.60 84.05 82.76 1958 Alfred Hitchcock
19 Singin' in the Rain 88.01 97.65 83.95 83.13 1952 Gene Kelly, Stanley Donen
20 Sunset Boulevard 88.00 95.45 85.44 84.22 1950 Billy Wilder
21 Citizen Kane 87.83 99.03 83.06 82.22 1941 Orson Welles
22 Harakiri 87.79 85.83 88.00 86.29 1962 Masaki Kobayashi
23 Rashomon 87.74 96.55 83.52 82.73 1950 Akira Kurosawa
24 Once Upon a Time in the West 87.71 86.65 85.48 84.62 1968 Sergio Leone
25 Fanny and Alexander 87.54 97.30 83.15 83.00 1982 Ingmar Bergman
26 The Lord of the Rings: The Return of the King 87.40 92.59 86.06 85.38 2003 Peter Jackson
27 Andrei Rublev 87.39 91.90 83.80 83.94 1966 Andrei Tarkovsky
28 The Passion of Joan of Arc 87.39 94.65 83.88 83.57 1928 Carl Theodor Dreyer
29 Sherlock Jr. 87.36 96.45 83.64 85.60 1924 Buster Keaton
30 Bicycle Thieves 87.35 94.70 83.91 83.46 1948 Vittorio De Sica
31 Casablanca 87.35 98.00 85.25 82.62 1942 Michael Curtiz
32 Some Like It Hot 87.28 95.30 82.11 83.73 1959 Billy Wilder
33 Persona 87.22 88.20 84.28 83.07 1966 Ingmar Bergman
34 Children of Paradise 87.21 95.33 84.81 83.27 1945 Marcel Carné
35 Taxi Driver 87.14 93.88 83.60 82.06 1976 Martin Scorsese
36 The Dark Knight 87.08 88.81 86.96 84.80 2008 Christopher Nolan
37 Metropolis 87.03 96.00 82.92 84.01 1927 Fritz Lang
38 Sunrise: A Song of Two Humans 87.02 93.95 82.23 84.02 1927 F. W. Murnau
39 Stalker 87.02 92.30 83.86 83.29 1979 Andrei Tarkovsky
40 Pather Panchali 86.96 94.35 84.40 82.80 1955 Satyajit Ray
41 Lawrence of Arabia 86.95 97.65 83.76 81.49 1962 David Lean
42 M 86.91 96.20 84.34 82.92 1931 Fritz Lang
43 Ordet 86.82 98.10 83.08 82.55 1955 Carl Theodor Dreyer
44 It's a Wonderful Life 86.77 90.45 85.17 84.90 1946 Frank Capra
45 Satantango 86.76 90.45 84.58 84.21 1994 Béla Tarr
46 Parasite 86.72 96.34 86.55 83.15 2019 Bong Joon-ho
47 The 400 Blows 86.70 96.70 83.14 82.60 1959 François Truffaut
48 Ikiru 86.56 93.80 85.48 84.29 1952 Akira Kurosawa
49 Mirror 86.50 95.60 82.75 82.34 1975 Andrei Tarkovsky
50 Come and See 86.50 90.50 85.22 83.13 1985 Elem Klimov
51 The Apartment 86.48 92.00 84.09 82.99 1960 Billy Wilder
52 The General 86.45 91.45 82.59 83.87 1926 Buster Keaton, Clyde Bruckman
53 Grave of the Fireflies 86.43 95.13 85.85 82.97 1988 Isao Takahata
54 Le Trou 86.41 89.95 85.46 85.14 1960 Jacques Becker
55 The Battle of Algiers 86.37 95.40 82.64 81.24 1966 Gillo Pontecorvo
56 A Man Escaped 86.34 96.50 83.67 82.03 1956 Robert Bresson
57 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb 86.34 95.85 84.37 83.03 1964 Stanley Kubrick
58 Paths of Glory 86.25 92.30 84.97 84.48 1957 Stanley Kubrick
59 The Lord of the Rings: The Fellowship of the Ring 86.24 88.75 85.61 84.31 2001 Peter Jackson
60 All About Eve 86.23 96.95 83.69 83.20 1950 Joseph L. Mankiewicz
61 Star Wars: The Empire Strikes Back 86.21 86.93 87.05 83.29 1980 Irvin Kershner
62 High and Low 86.16 86.55 86.08 84.26 1963 Akira Kurosawa
63 The Great Dictator 86.15 91.10 84.25 85.03 1940 Charlie Chaplin
64 The Silence of the Lambs 86.12 88.68 85.29 84.17 1991 Jonathan Demme
65 2001: A Space Odyssey 86.06 88.35 82.93 81.54 1968 Stanley Kubrick
66 North by Northwest 86.03 96.38 83.17 81.74 1959 Alfred Hitchcock
67 Double Indemnity 85.91 94.38 83.84 83.12 1944 Billy Wilder
68 Ugetsu 85.91 97.25 82.69 81.91 1953 Kenji Mizoguchi
69 Woman in the Dunes 85.91 93.95 84.71 83.77 1964 Hiroshi Teshigahara
70 Sansho the Bailiff 85.88 95.50 84.24 82.21 1954 Kenji Mizoguchi
71 Once Upon a Time in America 85.87 86.10 83.84 85.53 1984 Sergio Leone
72 City of God 85.86 84.08 86.39 84.00 2002 Fernando Meirelles, Kátia Lund
73 Late Spring 85.81 94.75 83.74 82.27 1949 Yasujirō Ozu
74 Barry Lyndon 85.80 87.95 82.44 82.30 1975 Stanley Kubrick
75 The Lord of the Rings: The Two Towers 85.78 88.78 85.00 84.29 2002 Peter Jackson
76 Raging Bull 85.77 90.48 82.01 81.80 1980 Martin Scorsese
77 Chinatown 85.72 94.08 83.32 80.69 1974 Roman Polanski
78 Alien 85.69 91.73 84.76 82.62 1979 Ridley Scott
79 Ran 85.68 94.70 83.93 82.52 1985 Akira Kurosawa
80 The Seventh Seal 85.67 92.10 83.52 82.13 1957 Ingmar Bergman
81 The Kid 85.61 92.85 82.91 84.94 1921 Charlie Chaplin
82 Wild Strawberries 85.51 90.05 83.38 82.24 1957 Ingmar Bergman
83 A Brighter Summer Day 85.50 93.38 84.07 81.01 1991 Edward Yang
84 85.48 91.20 82.59 81.09 1963 Federico Fellini
85 The Pianist 85.38 88.69 83.31 84.80 2002 Roman Polanski
86 The World of Apu 85.38 93.20 84.38 83.09 1959 Satyajit Ray
87 La Dolce Vita 85.37 94.38 81.40 80.48 1960 Federico Fellini
88 Star Wars 85.33 90.03 85.22 81.92 1977 George Lucas
89 The Best of Youth 85.31 88.78 85.31 83.64 2003 Marco Tullio Giordana
90 The Gold Rush 85.29 94.55 81.93 83.59 1925 Charlie Chaplin
91 The Third Man 85.26 96.50 82.91 80.21 1949 Carol Reed
92 The Treasure of the Sierra Madre 85.20 96.68 82.77 81.81 1948 John Huston
93 I Am Cuba 85.18 93.60 82.00 83.44 1964 Mikhail Kalatozov
94 The Lives of Others 85.14 89.03 84.12 82.73 2006 Florian Henckel von Donnersmarck
95 Witness for the Prosecution 85.13 92.65 83.67 84.99 1957 Billy Wilder
96 Touch of Evil 85.11 95.70 81.36 79.65 1958 Orson Welles
97 WALL-E 85.10 92.09 82.82 82.64 2008 Andrew Stanton
98 Scenes from a Marriage 85.02 86.85 84.80 83.06 1974 Ingmar Bergman
99 To Be or Not to Be 84.99 89.58 82.52 83.39 1942 Ernst Lubitsch
100 A Separation 84.92 94.24 83.34 80.90 2011 Asghar Farhadi
101 The Night of the Hunter 84.91 96.93 81.17 79.06 1955 Charles Laughton
102 Three Colors: Red 84.87 96.78 83.32 80.78 1994 Krzysztof Kieślowski
103 Yojimbo 84.87 91.55 83.85 82.99 1961 Akira Kurosawa
104 Back to the Future 84.85 89.38 84.47 81.94 1985 Robert Zemeckis
105 My Neighbor Totoro 84.84 87.53 83.44 83.17 1988 Hayao Miyazaki
106 In the Mood for Love 84.84 83.87 82.55 81.20 2000 Wong Kar-wai
107 Princess Mononoke 84.83 81.18 85.02 84.24 1999 Hayao Miyazaki
108 Saving Private Ryan 84.82 90.35 83.94 82.50 1998 Steven Spielberg
109 Cinema Paradiso 84.78 82.30 84.73 83.43 1988 Giuseppe Tornatore
110 La Jetée 84.75 89.25 83.27 81.80 1962 Chris Marker
111 The Wages of Fear 84.71 94.60 82.99 82.80 1953 Henri-Georges Clouzot
112 Das Boot 84.68 90.13 83.62 82.71 1981 Wolfgang Petersen
113 Fight Club 84.65 71.18 86.39 84.95 1999 David Fincher
114 Nights of Cabiria 84.64 92.25 82.72 83.13 1957 Federico Fellini
115 La Strada 84.61 92.60 80.79 82.78 1954 Federico Fellini
116 Amadeus 84.53 89.55 82.88 82.59 1984 Miloš Forman
117 Forrest Gump 84.50 76.90 83.06 86.12 1994 Robert Zemeckis
118 Spider-Man: Into the Spider-Verse 84.49 90.41 85.03 81.69 2018 Peter Ramsey, Rodney Rothman, Bob Persichetti
119 The Lion King 84.45 88.28 77.22 84.09 1994 Rob Minkoff, Roger Allers
120 Inception 84.43 82.07 84.18 84.17 2010 Christopher Nolan
121 Whiplash 84.42 89.53 84.87 81.96 2014 Damien Chazelle
122 The Shop Around the Corner 84.40 94.43 80.85 82.37 1940 Ernst Lubitsch
123 Rififi 84.38 92.00 83.03 81.58 1955 Jules Dassin
124 Umberto D. 84.38 92.63 82.20 81.75 1952 Vittorio De Sica
125 Army of Shadows 84.37 95.30 82.98 80.50 1969 Jean-Pierre Melville
126 Blade Runner 84.34 85.85 82.57 80.29 1982 Ridley Scott
127 Samurai Rebellion 84.33 89.05 82.85 83.84 1967 Masaki Kobayashi
128 Close-Up 84.31 85.70 81.99 80.69 1990 Abbas Kiarostami
129 The Circus 84.29 90.35 81.69 83.14 1928 Charlie Chaplin
130 Raiders of the Lost Ark 84.19 89.33 84.31 80.57 1981 Steven Spielberg
131 Grand Illusion 84.18 95.35 81.85 79.78 1937 Jean Renoir
132 A Clockwork Orange 84.18 82.78 82.37 82.51 1971 Stanley Kubrick
133 Eternal Sunshine of the Spotless Mind 84.07 89.37 83.36 80.57 2004 Michel Gondry
134 A Woman Under the Influence 84.01 87.40 82.51 80.40 1974 John Cassavetes
135 The Cranes Are Flying 84.00 89.30 82.76 82.40 1957 Mikhail Kalatozov
136 Yi Yi 83.91 91.25 82.48 79.64 2000 Edward Yang
137 To Kill a Mockingbird 83.91 89.13 81.98 82.20 1962 Robert Mulligan
138 The Matrix 83.90 77.78 84.54 83.06 1999 Wachowski Sisters
139 The Sting 83.90 85.73 82.71 83.36 1973 George Roy Hill
140 The Mother and the Whore 83.87 94.55 81.24 79.82 1973 Jean Eustache
141 Se7en 83.86 72.15 84.91 84.48 1995 David Fincher
142 Early Summer 83.85 94.45 82.19 82.01 1951 Yasujirō Ozu
143 Werckmeister Harmonies 83.80 91.73 80.89 81.93 2000 Béla Tarr, Ágnes Hranitzky
144 Coco 83.80 86.21 82.73 83.66 2017 Adrian Molina, Lee Unkrich
145 Toy Story 83.76 95.03 82.30 80.15 1995 John Lasseter
146 It Happened One Night 83.76 90.83 81.46 81.76 1934 Frank Capra
147 Reservoir Dogs 83.74 84.68 83.12 81.99 1992 Quentin Tarantino
148 Unforgiven 83.73 88.55 82.24 81.59 1992 Clint Eastwood
149 The Deer Hunter 83.73 87.68 80.57 82.06 1978 Michael Cimino
150 The Young and the Damned 83.72 87.10 82.58 80.82 1950 Luis Buñuel
151 The Best Years of Our Lives 83.68 92.63 81.19 81.20 1946 William Wyler
152 The Leopard 83.66 97.30 79.56 79.57 1963 Luchino Visconti
153 Time of the Gypsies 83.65 86.05 83.31 82.29 1988 Emir Kusturica
154 Ali: Fear Eats the Soul 83.61 96.70 80.51 79.97 1974 Rainer Werner Fassbinder
155 Raise the Red Lantern 83.57 90.25 82.37 81.81 1991 Zhang Yimou
156 Terminator 2: Judgment Day 83.57 82.00 84.11 81.83 1991 James Cameron
157 The Shining 83.55 75.35 84.08 81.80 1980 Stanley Kubrick
158 Viridiana 83.54 92.95 80.68 80.81 1961 Luis Buñuel
159 Portrait of a Lady on Fire 83.52 93.59 83.08 80.02 2019 Céline Sciamma
160 Greed 83.51 97.05 80.65 80.64 1924 Erich von Stroheim
161 Gone with the Wind 83.48 92.90 80.01 81.68 1939 Victor Fleming
162 There Will Be Blood 83.48 89.65 81.91 79.02 2007 Paul Thomas Anderson
163 L.A. Confidential 83.46 91.63 82.08 80.81 1997 Curtis Hanson
164 Paris, Texas 83.46 83.95 82.89 81.66 1984 Wim Wenders
165 Throne of Blood 83.45 91.30 82.18 81.49 1957 Akira Kurosawa
166 Toy Story 3 83.43 93.55 81.61 80.32 2010 Lee Unkrich
167 Memento 83.43 85.20 83.78 80.76 2000 Christopher Nolan
168 On the Waterfront 83.37 93.00 82.23 79.52 1954 Elia Kazan
169 Trip to the Moon 83.37 94.70 79.96 82.83 1902 Georges Méliès
170 The Rules of the Game 83.33 96.55 80.45 78.02 1939 Jean Renoir
171 Red Beard 83.32 74.15 83.41 83.27 1965 Akira Kurosawa
172 The Grapes of Wrath 83.32 95.45 80.42 80.34 1940 John Ford
173 Au Hasard Balthazar 83.29 98.08 77.93 77.54 1966 Robert Bresson
174 Autumn Sonata 83.29 84.85 83.09 82.66 1978 Ingmar Bergman
175 Annie Hall 83.28 93.18 80.58 80.58 1977 Woody Allen
176 The Conformist 83.27 96.68 79.92 78.58 1970 Bernardo Bertolucci
177 Rocco and His Brothers 83.24 84.73 81.95 81.68 1960 Luchino Visconti
178 Dersu Uzala 83.23 74.75 82.35 83.37 1975 Akira Kurosawa
179 Cool Hand Luke 83.21 93.05 82.22 79.83 1967 Stuart Rosenberg
180 Monty Python and the Holy Grail 83.18 91.98 82.96 79.30 1975 Terry Gilliam, Terry Jones
181 Le Samouraï 83.18 92.35 82.45 79.40 1967 Jean-Pierre Melville
182 Aliens 83.18 88.73 83.29 79.61 1986 James Cameron
183 PlayTime 83.16 93.50 80.22 78.80 1967 Jacques Tati
184 The Bridge on the River Kwai 83.14 90.58 81.93 80.24 1957 David Lean
185 The Red Shoes 83.13 93.15 82.82 79.96 1948 Michael Powell, Emeric Pressburger
186 American Beauty 83.10 87.15 81.93 81.13 1999 Sam Mendes
187 To Live 83.10 84.00 82.16 82.46 1994 Zhang Yimou
188 Battleship Potemkin 83.10 95.85 77.81 80.41 1925 Sergei Eisenstein
189 Day of Wrath 83.09 93.40 81.07 81.29 1943 Carl Theodor Dreyer
190 All Quiet on the Western Front 83.07 92.85 80.05 81.48 1930 Lewis Milestone
191 It's Such a Beautiful Day 83.07 91.25 83.62 79.77 2012 Don Hertzfeldt
192 Full Metal Jacket 83.06 81.53 82.21 82.54 1987 Stanley Kubrick
193 The Cabinet of Dr. Caligari 83.05 96.40 79.84 81.83 1920 Robert Wiene
194 Kes 83.03 97.80 79.59 80.55 1969 Ken Loach
195 The Usual Suspects 83.02 80.23 84.08 81.48 1995 Bryan Singer
196 The Cameraman 83.00 93.90 80.77 81.57 1928 Edward Segdwick, Buster Keaton
197 Aparajito 83.00 90.90 81.81 81.20 1956 Satyajit Ray
198 The Elephant Man 83.00 83.00 82.10 81.87 1980 David Lynch
199 Rebecca 82.98 90.08 81.08 80.93 1940 Alfred Hitchcock
200 Make Way for Tomorrow 82.97 95.80 81.72 80.14 1937 Leo McCarey
201 The Great Escape 82.97 87.68 82.29 80.66 1963 John Sturges
202 Your Name 82.97 84.55 84.07 81.29 2016 Makoto Shinkai
203 Limelight 82.92 88.00 79.85 83.02 1952 Charlie Chaplin
204 Breathless 82.92 91.95 78.88 79.10 1960 Jean-Luc Godard
205 Underground 82.91 80.75 81.26 82.64 1995 Emir Kusturica
206 The Man Who Shot Liberty Valance 82.88 91.90 81.08 79.53 1962 John Ford
207 Aguirre: The Wrath of God 82.87 94.55 80.46 78.62 1972 Werner Herzog
208 Oldboy 82.86 78.98 84.00 81.27 2003 Park Chan-wook
209 Up 82.84 90.28 81.32 80.86 2009 Pete Docter
210 Anatomy of a Murder 82.84 94.00 80.57 80.02 1959 Otto Preminger
211 The Wild Bunch 82.84 90.35 79.45 80.12 1969 Sam Peckinpah
212 The Hunt 82.75 82.08 82.79 82.62 2012 Thomas Vinterberg
213 Il Sorpasso 82.74 95.75 82.84 79.57 1962 Dino Risi
214 The Last Laugh 82.74 95.25 79.47 81.61 1924 F. W. Murnau
215 A Streetcar Named Desire 82.73 94.60 79.89 80.26 1951 Elia Kazan
216 Life Is Beautiful 82.73 68.45 83.60 85.57 1997 Roberto Benigni
217 A Short Film About Love 82.71 87.10 81.90 81.89 1988 Krzysztof Kieślowski
218 The Shop on Main Street 82.71 94.45 82.15 80.43 1965 Ján Kadár, Elmar Klos
219 Rio Bravo 82.71 92.10 80.46 79.80 1959 Howard Hawks
220 Roman Holiday 82.70 84.55 80.74 82.42 1953 William Wyler
221 Ivan's Childhood 82.69 94.80 81.25 80.37 1962 Andrei Tarkovsky
222 The Exterminating Angel 82.68 91.10 81.66 80.17 1962 Luis Buñuel
223 Trainspotting 82.68 85.20 81.57 81.21 1996 Danny Boyle
224 The Last Picture Show 82.67 94.15 79.90 79.56 1971 Peter Bogdanovich
225 The Truman Show 82.64 89.63 79.70 82.15 1998 Peter Weir
226 Memories of Murder 82.64 82.88 82.68 80.94 2003 Bong Joon-ho
227 Faust 82.62 89.70 80.23 81.94 1926 F. W. Murnau
228 Sans Soleil 82.62 83.90 79.45 80.51 1983 Chris Marker
229 Song of the Sea 82.57 87.63 80.59 82.23 2014 Tomm Moore
230 Léon: The Professional 82.55 67.38 84.05 84.07 1994 Luc Besson
231 Fargo 82.54 87.45 82.36 79.19 1996 Coen Brothers
232 Solaris 82.54 89.95 80.91 79.69 1972 Andrei Tarkovsky
233 Sweet Smell of Success 82.52 96.53 80.81 77.62 1957 Alexander Mackendrick
234 For a Few Dollars More 82.52 79.28 82.38 83.15 1965 Sergio Leone
235 White Heat 82.51 90.65 80.77 81.24 1949 Raoul Walsh
236 Brief Encounter 82.50 88.35 80.81 81.03 1945 David Lean
237 Wings of Desire 82.49 85.70 81.30 80.42 1987 Wim Wenders
238 Diabolique 82.47 90.70 81.27 80.73 1955 Henri-Georges Clouzot
239 An Autumn Afternoon 82.45 91.95 81.68 79.85 1962 Yasujirō Ozu
240 The Tale of the Princess Kaguya 82.44 90.63 81.16 80.43 2013 Isao Takahata
241 Amarcord 82.41 85.95 79.26 80.73 1973 Federico Fellini
242 Heat 82.40 79.08 82.03 81.73 1995 Michael Mann
243 L'Atalante 82.40 95.60 78.32 78.10 1934 Jean Vigo
244 Django Unchained 82.39 83.44 82.23 81.94 2012 Quentin Tarantino
245 Jeanne Dielman, 23 Commerce Quay, 1080 Brussels 82.38 95.50 78.73 79.69 1975 Chantal Akerman
246 Kind Hearts and Coronets 82.38 95.60 80.80 79.72 1949 Robert Hamer
247 Dog Day Afternoon 82.37 88.40 81.11 79.80 1975 Sidney Lumet
248 Forbidden Games 82.37 93.75 80.36 80.99 1952 René Clément
249 The Crowd 82.35 93.35 79.21 81.23 1928 King Vidor
250 Notorious 82.35 96.78 79.96 78.21 1946 Alfred Hitchcock
251 Mary and Max 82.35 88.05 80.95 82.42 2009 Adam Elliot
252 Persepolis 82.34 88.95 80.09 80.77 2007 Marjane Satrapi, Vincent Paronnaud
253 Howl's Moving Castle 82.33 78.71 82.63 83.10 2004 Hayao Miyazaki
254 Nausicaä of the Valley of the Wind 82.33 85.10 81.54 82.03 1984 Hayao Miyazaki
255 Safety Last! 82.33 92.25 80.95 81.10 1923 Fred C. Newmeyer, Sam Taylor
256 Rosemary's Baby 82.32 94.78 79.99 78.69 1968 Roman Polanski
257 L'Avventura 82.32 92.10 79.08 78.03 1960 Michelangelo Antonioni
258 The Searchers 82.32 93.90 78.16 76.66 1956 John Ford
259 La Haine 82.30 90.60 82.38 79.56 1995 Mathieu Kassovitz
260 Three Colors: Blue 82.30 88.28 81.55 79.23 1993 Krzysztof Kieślowski
261 Chungking Express 82.30 79.95 82.29 80.73 1994 Wong Kar-wai
262 Inside Out 82.29 93.66 80.27 79.85 2015 Pete Docter
263 Where is the Friend's Home? 82.28 89.25 81.22 80.21 1987 Abbas Kiarostami
264 Cries and Whispers 82.27 85.45 81.02 80.80 1972 Ingmar Bergman
265 Napoleon 82.22 93.25 81.89 78.99 1927 Abel Gance
266 Paper Moon 82.19 83.08 81.37 81.29 1973 Peter Bogdanovich
267 The Spirit of the Beehive 82.17 89.83 79.31 78.91 1973 Víctor Erice
268 A Special Day 82.16 90.20 81.11 81.25 1977 Ettore Scola
269 Nostalghia 82.15 83.00 80.91 81.23 1983 Andrei Tarkovsky
270 Network 82.13 85.45 82.36 79.08 1976 Sidney Lumet
271 L'Eclisse 82.11 84.70 79.78 78.81 1962 Michelangelo Antonioni
272 Mr. Smith Goes to Washington 82.09 80.83 81.78 81.15 1939 Frank Capra
273 Sanjuro 82.09 91.90 81.67 80.85 1962 Akira Kurosawa
274 Badlands 82.06 93.38 79.77 77.21 1973 Terrence Malick
275 Vivre Sa Vie 82.06 85.20 80.12 79.83 1962 Jean-Luc Godard
276 Nobody Knows 82.06 87.18 81.12 81.15 2004 Hirokazu Koreeda
277 No Country for Old Men 82.05 90.68 80.56 78.47 2007 Coen Brothers
278 Spring, Summer, Fall, Winter... and Spring 82.05 86.05 80.76 80.62 2003 Kim Ki-duk
279 La Notte 82.04 78.35 81.45 81.11 1961 Michelangelo Antonioni
280 The Celebration 82.04 84.23 81.34 80.08 1998 Thomas Vinterberg
281 In the Name of the Father 82.04 84.90 81.14 81.85 1993 Jim Sheridan
282 I Am a Fugitive from a Chain Gang 82.02 89.55 80.18 81.56 1932 Mervyn LeRoy
283 Shoplifters 82.01 92.39 80.60 79.31 2018 Hirokazu Koreeda
284 Finding Nemo 82.01 92.60 80.13 78.76 2003 Andrew Stanton, Lee Unkrich
285 Z 81.98 87.55 82.21 79.59 1969 Costa-Gavras
286 The Phantom Carriage 81.96 95.00 80.01 80.32 1921 Victor Sjöström
287 Manhattan 81.95 86.23 80.50 79.81 1979 Woody Allen
288 Rome, Open City 81.94 95.40 80.45 79.27 1945 Robert Rossellini
289 Children of Heaven 81.93 80.15 81.24 82.01 1997 Majid Majidi
290 The Green Mile 81.92 71.93 82.95 84.38 1999 Frank Darabont
291 The Iron Giant 81.91 86.61 80.88 79.95 1999 Brad Bird
292 The Sacrifice 81.90 80.30 80.47 81.37 1986 Andrei Tarkovsky
293 The Philadelphia Story 81.90 94.95 79.79 77.86 1940 George Cukor
294 The Twilight Samurai 81.90 86.10 81.07 81.13 2002 Yôji Yamada
295 Before Sunset 81.88 87.79 81.42 78.41 2004 Richard Linklater
296 Before Sunrise 81.86 84.40 82.24 79.44 1995 Richard Linklater
297 Castle in the Sky 81.85 81.63 81.49 82.06 1986 Hayao Miyazaki
298 The Departed 81.84 86.92 82.82 79.04 2006 Martin Scorsese
299 Brazil 81.83 90.23 80.61 78.37 1985 Terry Gilliam
300 Incendies 81.81 83.85 81.88 80.74 2011 Denis Villenueve
301 The Maltese Falcon 81.81 95.65 80.24 77.28 1941 John Huston
302 The Wizard of Oz 81.77 98.03 79.38 77.17 1939 Victor Fleming
303 Le Cercle Rouge 81.76 90.03 80.81 78.54 1970 Jean-Pierre Melville
304 Monsieur Verdoux 81.76 89.80 78.55 81.34 1947 Charlie Chaplin
305 The Return 81.72 84.85 80.02 80.96 2003 Andrey Zvyagintsev
306 Secrets & Lies 81.71 90.73 80.29 78.66 1996 Mike Leigh
307 The Hidden Fortress 81.70 91.25 80.79 80.72 1958 Akira Kurosawa
308 Pan's Labyrinth 81.69 92.59 81.60 76.08 2006 Guillermo del Toro
309 Amélie 81.69 79.64 81.96 80.27 2004 Jean-Pierre Jeunet
310 Ben-Hur 81.67 86.93 79.86 80.22 1959 William Wyler
311 Fitzcarraldo 81.67 75.80 81.06 81.21 1982 Werner Herzog
312 American History X 81.63 70.13 83.58 83.00 1998 Tony Kaye
313 Ace in the Hole 81.62 79.10 80.88 81.36 1951 Billy Wilder
314 Capernaum 81.62 81.83 80.52 82.18 2018 Nadine Labaki
315 Still Walking 81.61 90.30 80.92 79.48 2008 Hirokazu Koreeda
316 All About My Mother 81.61 88.77 79.56 78.80 1999 Pedro Almodóvar
317 The Discreet Charm of the Bourgeoisie 81.60 92.28 78.82 78.83 1972 Luis Buñuel
318 Platoon 81.60 88.70 79.52 80.45 1986 Oliver Stone
319 Farewell My Concubine 81.60 80.50 80.49 81.04 1993 Chen Kaige
320 Letter from an Unknown Woman 81.59 93.10 79.84 79.31 1948 Max Ophüls
321 The Grand Budapest Hotel 81.58 87.64 80.72 79.19 2014 Wes Anderson
322 The Virgin Spring 81.58 82.45 80.70 80.66 1960 Ingmar Bergman
323 The Red Balloon 81.57 90.20 79.93 80.30 1956 Albert Lamorisse
324 Stagecoach 81.57 94.58 77.69 78.94 1939 John Ford
325 Mulholland Drive 81.56 80.61 79.60 77.87 2001 David Lynch
326 A Matter of Life and Death 81.49 92.60 81.91 76.27 1946 Michael Powell, Emeric Pressburger
327 High Noon 81.48 90.58 79.27 78.94 1952 Fred Zinnemann
328 Orpheus 81.48 96.20 79.88 78.90 1950 Jean Cocteau
329 Life of Brian 81.47 82.98 80.78 79.81 1979 Terry Jones
330 Casino 81.46 74.23 81.54 81.75 1995 Martin Scorsese
331 Kagemusha 81.44 82.93 80.01 80.43 1980 Akira Kurosawa
332 Butch Cassidy and the Sundance Kid 81.43 76.08 80.53 81.85 1969 George Roy Hill
333 In a Lonely Place 81.43 92.45 80.42 78.77 1950 Nicholas Ray
334 Scarface 81.43 71.30 81.97 82.18 1983 Brian De Palma
335 A Short Film About Killing 81.42 87.35 79.89 80.38 1988 Krzysztof Kieślowski
336 Beauty and the Beast 81.41 92.05 79.28 78.32 1946 Jean Cocteau
337 The Hustler 81.39 92.45 80.43 78.97 1961 Robert Rossen
338 Cléo from 5 to 7 81.38 91.65 80.03 79.11 1962 Agnès Varda
339 Fireworks 81.37 90.15 80.01 79.63 1997 Takeshi Kitano
340 Room 81.36 88.41 80.43 79.48 2015 Lenny Abrahamson
341 Mad Max: Fury Road 81.35 90.39 79.76 77.80 2015 George Miller
342 Steamboat Bill, Jr. 81.32 95.75 79.30 79.23 1928 Charles Reisner, Buster Keaton
343 Judgment at Nuremberg 81.31 71.58 82.24 83.03 1961 Stanley Kramer
344 The Straight Story 81.30 87.15 79.64 79.88 1999 David Lynch
345 Meshes of the Afternoon 81.29 96.25 77.91 79.99 1943 Maya Deren, Alexandr Hackenschmied
346 Alice in the Cities 81.28 86.70 79.60 80.20 1974 Wim Wenders
347 Akira 81.28 80.90 81.12 79.98 1988 Katsuhiro Otomo
348 Good Will Hunting 81.27 79.38 81.97 81.05 1997 Gus Van Sant
349 The Miracle Worker 81.25 85.15 78.88 81.55 1962 Arthur Penn
350 Talk to Her 81.25 87.48 79.33 78.71 2002 Pedro Almodóvar
351 The Graduate 81.24 85.58 78.91 79.97 1967 Mike Nichols
352 Beauty and the Beast 81.22 92.28 79.20 78.77 1991 Gary Trousdale, Kirk Wise
353 The Heiress 81.19 94.45 80.20 79.76 1949 William Wyler
354 Fantasia 81.18 93.03 76.76 79.95 1940 Samuel Armstrong, James Algar
355 Au Revoir les Enfants 81.18 94.25 80.14 78.92 1987 Louis Malle
356 Three Billboards Outside Ebbing, Missouri 81.18 88.62 79.36 79.90 2017 Martin McDonagh
357 Inglourious Basterds 81.17 79.05 81.06 80.51 2009 Quentin Tarantino
358 Elevator to the Gallows 81.16 90.45 79.31 78.56 1958 Louis Malle
359 Gladiator 81.16 75.39 81.69 81.52 2000 Ridley Scott
360 Through a Glass Darkly 81.15 93.60 81.11 78.86 1961 Ingmar Bergman
361 Million Dollar Baby 81.15 87.41 77.43 80.72 2004 Clint Eastwood
362 Days of Heaven 81.15 90.75 80.19 77.08 1978 Terrence Malick
363 Do the Right Thing 81.15 90.78 80.26 77.04 1989 Spike Lee
364 Out of the Past 81.14 91.40 80.73 77.92 1947 Jacques Tourneur
365 Strangers on a Train 81.11 93.30 80.01 78.68 1951 Alfred Hitchcock
366 Blue Velvet 81.11 83.48 78.98 77.09 1986 David Lynch
367 That Obscure Object of Desire 81.09 89.40 79.59 78.11 1977 Luis Buñuel
368 What Ever Happened to Baby Jane? 81.08 80.23 80.74 80.75 1962 Robert Aldrich
369 My Night at Maud's 81.07 88.15 79.51 79.42 1969 Éric Rohmer
370 The Earrings of Madame de… 81.07 92.15 80.36 77.05 1953 Max Ophüls
371 The Conversation 81.04 89.23 80.03 77.44 1974 Francis Ford Coppola
372 The Killing 81.03 91.50 79.51 79.21 1956 Stanley Kubrick
373 The Servant 81.03 87.83 79.45 78.57 1963 Joseph Losey
374 The Intouchables 81.03 67.15 82.13 84.70 2011 Olivier Nakache, Éric Toledano
375 The Life and Death of Colonel Blimp 81.01 94.15 81.57 75.44 1943 Michael Powell, Emeric Pressburger
376 Jaws 81.01 90.98 79.91 75.70 1975 Steven Spielberg
377 Winter Light 81.01 73.55 81.51 79.95 1963 Ingmar Bergman
378 Love Exposure 81.01 80.88 82.23 79.55 2008 Sion Sono
379 Hiroshima Mon Amour 81.00 92.95 80.13 77.99 1959 Alain Resnais
380 Day for Night 80.98 92.55 80.21 78.27 1973 François Truffaut
381 Ratatouille 80.97 92.73 78.72 78.68 2007 Brad Bird
382 Ghost in the Shell 80.97 81.43 79.98 81.15 1995 Mamoru Oshii
383 Germany Year Zero 80.95 92.00 77.80 80.03 1948 Roberto Rossellini
384 Spotlight 80.93 93.00 79.75 77.55 2015 Tom McCarthy
385 Die Hard 80.93 79.58 81.11 79.43 1988 John McTiernan
386 Laura 80.93 93.80 79.70 78.47 1944 Otto Preminger
387 Sleuth 80.93 89.95 79.16 80.87 1972 Joseph L. Mankiewicz
388 The Diving Bell and the Butterfly 80.92 88.64 79.69 77.84 2007 Julian Schnabel
389 The Handmaiden 80.92 85.99 82.55 77.41 2016 Park Chan-wook
390 Stand by Me 80.90 80.20 81.28 79.54 1986 Rob Reiner
391 Wolf Children 80.90 80.15 80.40 81.27 2012 Mamoru Hosoda
392 Marriage Story 80.88 92.86 79.40 77.75 2019 Noam Baumbach
393 Shoeshine 80.87 93.75 79.02 79.38 1946 Vittorio De Sica
394 Freaks 80.85 84.70 77.66 80.31 1932 Tod Browning
395 Nosferatu 80.85 93.75 78.29 79.14 1922 F. W. Murnau
396 Dial M for Murder 80.84 77.60 81.17 81.31 1954 Alfred Hitchcock
397 Amour 80.81 90.90 77.74 78.19 2012 Michael Haneke
398 12 Years a Slave 80.80 94.00 79.74 76.94 2013 Steve McQueen
399 The Nightmare Before Christmas 80.77 85.38 79.26 79.69 1993 Henry Selick
400 Cabaret 80.77 84.68 77.34 80.69 1972 Bob Fosse
401 Central Station 80.77 83.28 80.91 78.52 1998 Walter Salles
402 Landscape in the Mist 80.74 71.35 80.76 80.28 1988 Theo Angelopoulos
403 1917 80.73 84.37 80.65 79.33 2019 Sam Mendes
404 Intolerance: Love's Struggle Throughout the Ages 80.71 93.98 75.69 78.01 1916 D. W. Griffith
405 Call Me by Your Name 80.71 91.25 79.43 77.87 2017 Luca Guadagnino
406 Midnight Cowboy 80.71 82.98 79.10 79.50 1969 John Schlesinger
407 Shadow of a Doubt 80.70 94.38 79.31 76.04 1943 Alfred Hitchcock
408 Interstellar 80.70 74.16 81.30 82.25 2014 Christopher Nolan
409 Hannah and Her Sisters 80.69 88.95 79.15 77.98 1986 Woody Allen
410 Monsters, Inc. 80.68 85.29 79.37 80.08 2001 Pete Docter, David Silverman
411 The Testament of Dr. Mabuse 80.65 85.85 79.40 79.38 1933 Fritz Lang
412 Downfall 80.64 83.53 81.54 78.55 2004 Oliver Hirschbiegel
413 Being There 80.64 87.30 79.42 78.06 1979 Hal Ashby
414 The Killer 80.63 92.60 79.27 78.66 1989 John Woo
415 My Left Foot: The Story of Christy Brown 80.63 93.23 78.13 79.15 1989 Jim Sheridan
416 Jean de Florette 80.60 88.40 80.18 79.69 1986 Claude Berri
417 The Big Lebowski 80.57 74.80 82.28 78.57 1998 Coen Brothers
418 The King's Speech 80.57 90.86 78.50 78.59 2010 Tom Hooper
419 Whisper of the Heart 80.55 79.98 80.80 80.31 1995 Yoshifumi Kondō
420 E.T. the Extra-Terrestrial 80.54 93.08 77.22 77.82 1982 Steven Spielberg
421 Infernal Affairs 80.54 79.83 79.92 80.22 2002 Andrew Lau, Alan Mak
422 The Prestige 80.54 72.22 82.71 81.38 2006 Christopher Nolan
423 Our Hospitality 80.54 92.85 77.72 79.58 1923 Buster Keaton, John G. Blystone
424 Zootopia 80.53 85.22 78.84 80.18 2016 Byron Howard, Rich Moore
425 Toy Story 2 80.49 92.59 78.51 77.05 1999 John Lasseter, Ash Brannon, Lee Unkrich
426 Klaus 80.48 75.00 81.07 81.41 2019 Sergio Pablos
427 The Big Sleep 80.45 92.10 79.74 77.58 1946 Howard Hawks
428 Ford v Ferrari 80.45 83.94 79.37 80.01 2019 James Mangold
429 Dead Poets Society 80.44 78.70 79.43 80.75 1989 Peter Weir
430 The Terminator 80.43 89.08 78.26 78.13 1984 James Cameron
431 Naked 80.43 84.48 80.39 77.34 1993 Mike Leigh
432 Dangal 80.41 83.00 79.68 80.56 2016 Nitesh Tiwari
433 Kwaidan 80.40 81.80 79.75 79.42 1964 Masaki Kobayashi
434 The Man Who Would Be King 80.40 90.55 78.24 77.79 1975 John Huston
435 Wild Tales 80.38 82.57 80.48 79.22 2014 Damián Szifron
436 Groundhog Day 80.38 80.08 79.31 79.35 1993 Harold Ramis
437 Catch Me If You Can 80.38 83.44 78.74 80.57 2002 Steven Spielberg
438 I Vitelloni 80.36 90.28 77.64 78.06 1953 Federico Fellini
439 The Big Heat 80.35 92.90 79.27 77.87 1953 Fritz Lang
440 The Double Life of Véronique 80.35 82.63 80.19 77.87 1991 Krzysztof Kieślowski
441 Who's Afraid of Virginia Woolf? 80.35 82.58 80.19 78.43 1966 Mike Nichols
442 Requiem for a Dream 80.33 71.39 81.39 80.93 2000 Darren Aronofsky
443 Rope 80.33 79.20 80.31 79.30 1948 Alfred Hitchcock
444 Love and Death 80.33 89.83 77.55 78.50 1975 Woody Allen
445 The Remains of the Day 80.29 86.88 78.75 78.80 1993 James Ivory
446 Jules and Jim 80.28 93.70 78.30 77.94 1962 François Truffaut
447 The Gospel According to Matthew 80.28 88.30 76.50 78.52 1964 Pier Paolo Pasolini
448 How to Train Your Dragon 80.27 81.97 79.45 80.24 2010 Chris Sanders, Dean DeBlois
449 Harry Potter and the Deathly Hallows: Part 2 80.27 88.50 78.81 78.53 2011 David Yates
450 Cat on a Hot Tin Roof 80.26 87.05 79.46 79.79 1958 Richard Brooks
451 The French Connection 80.26 93.35 78.04 76.89 1971 William Friedkin
452 Opening Night 80.25 78.05 80.50 79.25 1977 John Cassavetes
453 Hotel Rwanda 80.24 84.54 79.34 79.40 2004 Terry George
454 4 Months, 3 Weeks and 2 Days 80.22 92.51 77.76 76.22 2007 Cristian Mungiu
455 Tampopo 80.22 92.40 81.20 77.01 1985 Juzo Itami
456 Scarface 80.22 93.50 76.43 79.55 1932 Howard Hawks, Howard Hughes
457 The Face of Another 80.21 87.50 79.61 79.34 1966 Hiroshi Teshigahara
458 The Roaring Twenties 80.21 86.20 77.79 80.68 1939 Raoul Walsh
459 Pickpocket 80.20 93.80 76.41 76.47 1959 Robert Bresson
460 Kiki's Delivery Service 80.20 85.45 79.87 78.84 1989 Hayao Miyazaki
461 A Prophet 80.19 89.61 79.53 76.14 2009 Jacques Audiard
462 Zelig 80.19 90.00 76.50 80.29 1983 Woody Allen
463 Trouble in Paradise 80.18 88.20 79.35 77.62 1932 Ernst Lubitsch
464 Gran Torino 80.17 76.27 78.57 82.36 2008 Clint Eastwood
465 Last Year at Marienbad 80.16 88.25 78.29 77.37 1961 Alain Resnais
466 All the President's Men 80.15 85.95 80.48 76.46 1976 Alan J. Pakula
467 Breaking the Waves 80.15 79.85 78.46 79.55 1996 Lars von Trier
468 Indiana Jones and the Last Crusade 80.14 74.28 81.44 80.57 1989 Steven Spielberg
469 Divorce Italian Style 80.12 91.00 79.28 78.26 1961 Pietro Germi
470 Edward Scissorhands 80.12 78.65 78.09 80.73 1990 Tim Burton
471 The Thing 80.12 67.98 82.60 79.34 1982 John Carpenter
472 Perfect Blue 80.11 74.05 80.91 80.09 1997 Satoshi Kon
473 Down by Law 80.10 79.03 78.98 79.61 1986 Jim Jarmusch
474 Bringing Up Baby 80.10 90.75 78.25 76.45 1938 Howard Hawks
475 The Phantom of Liberty 80.09 85.10 78.89 78.66 1974 Luis Buñuel
476 Bonnie and Clyde 80.07 85.38 78.16 78.23 1967 Arthur Penn
477 The Incredibles 80.07 89.69 79.77 75.78 2004 Brad Bird
478 Rocky 80.04 79.73 79.17 79.29 1976 John G. Avildsen
479 His Girl Friday 80.03 94.15 79.24 76.72 1940 Howard Hawks
480 Mommy 80.03 80.79 80.39 79.13 2014 Xavier Dolan
481 Mon Oncle 80.03 88.00 78.03 78.76 1958 Jacques Tati
482 My Fair Lady 79.99 91.85 77.53 78.00 1964 George Cukor
483 Charade 79.98 85.55 79.37 78.72 1963 Stanley Donen
484 Stalag 17 79.95 87.13 79.62 77.79 1953 Billy Wilder
485 Boyhood 79.95 97.08 76.08 75.95 2014 Richard Linklater
486 The Secret in Their Eyes 79.95 82.49 81.27 77.67 2009 Juan José Campanella
487 Ninotchka 79.95 90.15 77.99 78.50 1939 Ernst Lubitsch
488 Pierrot le Fou 79.94 81.75 77.84 76.65 1965 Jean-Luc Godard
489 The Enigma of Kaspar Hauser 79.94 89.10 78.30 78.27 1974 Werner Herzog
490 Stroszek 79.94 88.40 79.50 77.77 1977 Werner Herzog
491 A Hard Day's Night 79.93 93.73 76.82 77.08 1964 Richard Lester
492 Onibaba 79.90 74.75 79.42 79.96 1964 Kaneto Shindo
493 Repulsion 79.85 92.68 77.29 76.57 1965 Roman Polanski
494 Like Stars on Earth 79.85 80.50 79.54 79.86 2007 Aamir Khan, Amole Gupte
495 Duck Soup 79.84 92.33 79.01 74.92 1933 Leo McCarey
496 Carlito's Way 79.83 70.28 79.16 82.01 1993 Brian De Palma
497 Nashville 79.82 93.23 76.89 74.92 1975 Robert Altman
498 The Triplets of Belleville 79.82 88.97 76.57 78.66 2003 Sylvain Chomet
499 Dr. Mabuse the Gambler 79.81 85.10 76.88 79.98 1922 Fritz Lang
500 Gone Girl 79.79 83.03 79.32 78.87 2014 David Fincher
If you found this list interesting, I would really appreciate it if you can give my newish Youtube channel a subscribe. It would mean a lot. As always, if you know of or use any other movie website, definitely let me know. Thanks guys.
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2020.09.22 11:37 EyeflyplayzYT Full Just Dance 2021 Opinions

Dance Monkey : Beautiful, choreography is not that good but I still like it. If they make a alternative then that would be DOPE. :D
all the good girls : Billie is back ( duh ;D ) and honestly everything looks cool
In the Navy: My 5 year old sister would probably enjoy this more than me
Zenit: SPEACHLESS I am in awe
Feel Special: Twice's second appearance I'd say not that bad I see why other people would like it. But the more I watch it the more I like it.
Señorita: Now everyone ( else ) wanted this song to be on just dance now it has arrived and I do not think the choreography is that good I mean the background is kinda good. :)
Heat Seeker: AWESOME! It has kinda a bit of John Wayne vibes and the choreography ehh " I like it but not a lot... I don't like it. "- Gru
Don't start now: YAAAAAAAAAAAAAAAASSSSSSSSSSSSSSSSSSSSSSS!!!!!!!!!!!!!! I am a boy and I am so excited for this song to be on Just Dance 2021 and Dua Lipa makes a comeback after her last few songs in Just Dance 2018 " Blow your mindJust Dance 2019: " New Rules " and " One Kiss " and the best Dua Lipa song ever! ( in my opinion ) But the choreography is not what I expected, it needs an extreme.
Temperature: Yeeeeeeesss!!!! Sean Paul's 5th song after his beginning in Just Dance 2017 "Cheap Thrills", back in 2018 with "No Lie" and "Rocabye", 2019 with "Mad Love" and now back in 2021 with "Temperature" The choreography not so good but I need to see the whole song, the background with the PENGUIIIIIIIIIIINSSSSSSS!! Outfits good [ thumbs up ].
Que Tire Pa Lante: Welcome back, Daddy Yankee! Daddy Yankee's 5th song in the Just Dance franchise after Just Dance 2014's "Limbo", 2018's "Despacito", 2019's "Shaky Shaky", 2020's "Con Calma" and now 2021's " Que Tire Pa Lante" Now, to be honest I don't really like Que Tire Pa Lante.
Juice: LIZZO IS BACK, BABY! After 2019's "Water Me" 2020's "Boys", Lizzo makes a comeback with her hit song, "Juice" The background not so bad, the choreography is sporty ( like Water Me ) and the outfits not good.
The more I watch all of the videos, the more I like them :)
Blinding Lights: Yes! Starting of the video with a good one ( that wasn't a compliment )! It is the artist " The Weekend "'s 3rd song on Just Dance series after Just Dance 2017's " Can't Feel My Face ", Just Dance 2019's " I Feel It Coming ft. Daft Punk " and now Just Dance 2021 " Blinding Lights ". Well, the dancer and the background looks like a futuristic city. The choreography is... bad. I am partly disappointed. I hope it has an alternate.. possibly an extreme.
Till The World Ends: :/ It is LITERALLY THE 8TH COVERED SONG by The Girly Team. HERE, I'll prove it: Fame, Baby One More Time, Oops!.. I Did It Again, Flashdance... What A Feeling, Macarena, Dancing Diva, These Boots Are Made For Walking AND NOW Till The World Ends.
I mean come on, when will Just Dance put non-covered song in Just Dance??? Oh and I think the background and the costume is cool but it is just not my taste.
Samba De Janeiro: Umm.. :/ I don't know.. It's... something.
Dibby Dibby Sound: The costumes kinda Policeman vibes. The choreography is.. wait let me watch the video... 2 MINUTES LATER wtf. Background is bland, plain, nothing special at all and is just speakers FLOATING around.
Boy You Can Keep It: Not baaaaaaaaaaaaaaaaaaad!!!!! :D I like it I have never heard that song before and I like it! The costume... kinda creepy. The choreography is not SUPER GOOD but I still like it. Background: ok.
Runaway ( U & I ): To be honest, I am proud of Ubisoft. This is impressive. It is good honestly and I like it.
Bailando: HAHAAAAAA!!! I have not heard this song before. I thought, because I saw the dancer before the reveal, I thought it would be Say So by Doja Cat but I still like it.
The Weekend: I was like hahah relatable but yeah I sent the video to my mom saying "Relatable" and she said she knew this song and said it was from the early 2000s and that she can't wait to dance to it and I am very happy about that! :D I kinda like the song after hearing it for the first time! :D
Without Me: I saw this meme that said:
Just Dance 2021 Fans: The reveals aren't so good
Eminem: THIS LOOKS LIKE A JOB FOR ME ( comment if you get it :p )
And someone on youtube put "Eminem in Just Dance. I'm dreaming" and I honestly agree with that person 100%. No one thought that Eminem out of all artists would be in Just Dance. And it is pretty decent. By the way it is on Just Dance Unlimited.;D
Now some other stuff:
Just Dance 2020 Unlimited Season 4 "It's Showtime":
Now I have a theory for it: If you go on Youtube ( Here ) and stop at 0:18 there are 4 Just Dance 2021 dancers, from left to right the dancers are:
Heat Seeker, Señorita, Que Tire Pa Lante and Without Me. And Without Me is on Just Dance 2020 Unlimited and what if throughout the dates of the Showtime Party ( September 10th to September 24th ) and the Showtime Gala ( October 15th to November 5th ). Together that's 5 weeks. They could be adding the 4 songs above ( Heat Seeker, Señorita, Que Tire Pa Lante and Without Me ) onto Just Dance 2020 Unlimited.
Overall ( Both Just Dance 2021 reveals ): The songs are fairly good, some are GREAT, some are good and some are bad. But I really want to thank Ubisoft with all my heart, during the hardest times, Ubisoft made us so happy :D:D:D:D:D:D:D:D::D::D:D:D with revealing us with Just Dance 2021!

Thank You With All My Heart, Ubisoft And The Just Dance Team.

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2020.09.21 18:32 IndieheadsAOTY Album of the Year 2014 #21: Owen Pallett - In Conflict

Album of the Year 2014 #21: Owen Pallett - In Conflict
Hey y'all! Welcome back to Album of the Year 2014, our daily writing series for September where we look back on some of our user's favorite records from the year of our founding! Today we've got u/Ervin_Salt talking about Owen Pallett's In Conflict!
May 27th, 2014 - Domino
Listen:
Bandcamp
YouTube
Spotify
Background by u/Ervin_Salt
Owen Pallett is a Canadian multi-instrumentalist most commonly associated with violin, who has worked as a composer and collaborator with a number of high-profile indie musicians as well as international orchestras. They studied classical violin from a very young age, and composed two operas whilst at the University of Toronto, where they earned a Bachelors in Music As Composition. Owen’s parents were supportive of their homosexuality and queer gender expression, and Owen has spoken about how that influenced their ability to convey feelings through their art.
Owen has two solo records under the name Final Fantasy, one of which won the Polaris Music Prize in 2006, and as of the end of 2020 has released three additional solo records under their own name. All these albums have been critically well received for their lush, orchestral production, deep songwriting, and the ability to be both hook-y and dense. The violin being their most prominent instrument, they are also known for live shows based around using a loop pedal to create great walls of overlapping violin riffs. Owen was invited to play Brian Eno’s Punkt festival in 2011, and as a result worked with Eno on some tracks on In Conflict.
Review by u/Ervin_Salt
The following statement is one I say with complete confidence. Anybody who clicks a review in order to read somebody’s opinions on an album secretly, deep down, wants the opening of that review to be a contextless, raw statistical analysis of some completely different bands. This is just a fact that I know subconsciously as a truism of music criticism, and only I am bold enough to actually commence an article in such a way. So here we go.
Arcade Fire have 4.2 million monthly listeners on Spotify, their album Funeral was voted the 2nd best album of the 21st century so far in a 2017 indieheads bracket tournament, and they won Album Of The Year at the 2011 Grammys. The National have 2.7 million monthly Spotify listeners, won the 2018 Grammy for Alternative Rock Album, and once, in an indieheads census, were the 2nd highest answer to the question “who is your favorite artist?” Grizzly Bear have 1.7 million listeners, Alex Turner's bands sit at 13.4 and 1.3 million, The Mountain Goats come a little ways behind with 600,000.
These classic indie artists collectively provide a number of the last two decades' most highly regarded albums, a history of the genre wouldn't be the same without mentioning many of them. Every one of these acts has worked with Owen Pallett, actively sought the Canadian out in fact, for the careful, complex, and beautiful string arrangements they bring. The soaring playfulness of "No Cars Go", the solemn backing on "Exile Vilify", the intimacy of "Marla". These are all big moments that turned young people onto some more serious and classically influenced music. I know people who talk about what a big deal hearing The National for the first time in Portal 2 was, and how the desolation as the second half of the song builds really stuck with them.
Owen Pallett is associated with names that are burned into the cultural consciousness of the weird genre-amalgam identity-crisis-perpetual-motion machine we like to call indieheads, and yet when the much teased narrative sequel to 2010’s “Heartland” was surprise-released in May, “Island” was met with a polite, bemused shrug. Barely two months later, Pallett’s Spotify shows a monthly listeners less than 60,000. Pallett has made a trio of albums under their own name, having previously referred to their work as an artist under the title “Final Fantasy”. All the Final Fantasy albums are fun and interestingly put together, and showcase a major talent, but I’m going to focus on the way that Heartland and Island bookend and contrast the May 2014 album “In Conflict”. Please do check out the 2004 and 2005 works “Has A Good Home” and “He Poos Clouds”, though.
To briefly explain the narrative of Heartland and Island, a farmer by the name of Lewis living in the land of Spectrum becomes tired of his menial life and journeys to kill his God, who is named Owen Pallett. Lewis succeeds in doing so by the end of Heartland, but finds he has lost a part of himself in the process, and spends much of Island in an isolated, solipsistic state, searching for meaning in his actions. He eventually reunites with his God at the end of the record, and finds comfort in having a relationship with something larger than himself. The particulars of these two records are tricky, and Pallett has referenced Lynch in how intentionally oblique they wanted the specifics of the plot to be. By being a named character in the plot, the antagonist turned absent friend no less, Pallett invites interpretation of how their own personality, identity, and struggles feed into the narrative. But Pallett has placed so many layers of fantasy in front of the listener that the casual indie fan looking for that bombast and heart-of-sleeve of Arcade Fire are going to find themselves with a wall of thematic riddles blocking their path.
In an interview with The Quietus, Owen said “I have to write fantasy songs, if I wrote about my own life people would get bored to fucking tears”. There’s a little bit of modesty at work there but they clearly feel there should be loftier goals for music than just talking about the day-to-day of human experience. In Conflict, however, is the one album of theirs where that rule isn’t followed, and we see some more common themes like love, loss, identity, and finding your place in the world. These are the same lyrical paths that more successful bands have trod, but where a contemporary like Wolf Parade would aim to coalesce the universal and the personal into a single entity (to great effect), Owen does something more interesting with the interplay between those two. And to understand that I do need to talk a little about Owen’s identity. At the time In Conflict was released they were male presenting and used male pronouns, but always had an androgynous and genderqueer approach to art. Since then Owen prefers to be referred to using they/them pronouns, but it did not come with a public announcement stating exactly how they felt regarding their gender or sexuality. This lack of a firm identity statement may confuse some, but clear literal statements are not really what Owen Pallett as an artist is about. There are certainly some references and feelings peppered into In Conflict, however.
On “I Am Not Afraid”, the soaring opening track, Owen sounds desolate as they exclaim “I’ll never have any children/ I’d bare them and confuse them, my children”. Owen’s anxieties extend beyond just the view they have of themselves, but also the responses of people close to them, and anxiety about perceived identity is prevalent throughout the album. A lot of tracks are sketches and interpretations of relationships from Owen’s past, and through those relationships they are able to understand a little more about themselves. On “The Sky Behind The Flag” we learn about feeling love for a woman, who “said I was the guy behind the counter, who would offer to give you comfort, when there was none”. “The Passions” is a sparse and deeply melancholic tale where the two members of a relationship are completely open with each other, but see different ends. We get a window into the eventual breaking up even as the relationship is in its most intimate form. And there’s something of a fraternal relationship displayed in “Soldier’s Rock”, but it is never clear where the familial and where the romantic begin and end.
Soldier’s Rock also has an interesting reference to “stolen vodka and triple sec”, which together with the “sixth straight day with the Tanqueray” alluded to on “The Riverbed” marks moments that the character Owen is portraying chooses to giving authority over to something else, alcohol being a common indicator of making the decision to be more fragile and open. Not to mention the main thrust of Sky Behind The Flag, with Owen lamenting their need and subsequent inability to lose control. These are examples of Owen rejecting emotional barriers, a big touchstone in the modern indie rock scene, but in a way where instead of using it to create a shared experience between artist and listener, they are continuing to create something that’s difficult to parse. Even without the “narrative mess” that permeates Heartland and Island, In Conflict is still full of examples of metaphor, esoteric references, and life events that come exclusively from their creator’s mind. It’s this incredibly weird tightrope walk between blatantly personal material (Owen literally sings their phone number at the end of “The Secret Seven” and invites the listener to call “if your mother doesn’t answer”), and a heavy clouding and fragmentation of the personal struggles that are really tough and knotty and dense. I feel like listeners simply aren’t primed to receive these kinds of lyrical devices when within chamber pop trappings. The scene has been too suffused in universal sentiment to whole-heartedly embrace a person turning internal identity struggles into abstraction.
The backstory and narrative trickery might explain why Owen is not as popular as their genre-fellows, but the reason why they really should be can be found in the raw musicianship of In Conflict, which rivals the sublime beauty of Joanna Newsom and the divine emoting of Sufjan Stevens. The first thing you hear as the album opens is this bold, almost piercing violin note that sustains and rides out in your ears and a slowly building staccato version of the violin note joins. In the lyrics of the song Owen refers to a “holy eternal drone” and the violin acts like that throughout the album, which for those fans of their work that are used to hearing elegant guitar melodies, might be shocked to find it more as an atmospheric all-encompassing background. Heartland and Owen’s work as Final Fantasy was filled with these guitar-surrogate riffs that captivated and clutched onto the senses, one of the main delights to return to on re-listens. The texture of this album in regards to violin is very interestingly delivered, there are layers of violin backdrop on a lot of the songs that then allow other instruments to do the bulk of the melodic work. Sometimes it is Owen’s voice that is doing that work, take the title track for example, with a lilting cry of “Sorceress! Valkyrie!” giving way to a slightly stuttered and slowly descending “you let, you let, yourself believe”. The chorus closes out with Owen’s voice leaping around the repeated line “there is nothing to lose! There is nothing to lose!” Owen has such great control over their vocals to create these interesting and catchy melodies with relatively few notes, the way that their are used to be another member of the orchestra that is playing out over a consistent violin, as opposed to just a machine that outputs words, gives an extra layer of drama and cinematic grandeur to the songs.
Grandiosity is something that you can imagine is closely associated with an artist who studied classical violin and has worked with international orchestras. I can’t understate how gorgeous it all sounds when placed together, the production brings to mind the beauty of recent Perfume Genius and Julia Holter albums, in the sort of art pop tradition of being incredibly clean but having this enchanting otherworldliness to it. Owen raises their game by not allowing their most prominent instrument to dominate. On some tracks you will hear violin give way to percussive segments, which will then result in a simple piano melody. On songs like Soldier’s Rock and The Passions, the violin appears more as an aggressive interloper, a calmer or more somber passage will suddenly be interrupted by a violin note that stabs and pierces. This is surely in part in ode to the titular “Conflict”, not least because Owen is pitting two parts of themselves against each other, the one that has become famous for looped solo violin live shows, and the other looking for the greater fullness of a deep orchestral sound. This kind of tension in music is something Owen has made clear before, in a brief but quite brilliant music-theory dissection of Katy Perry’s Teenage Dream that they wrote and published just before the release of In Conflict, they discuss how playing with scales and defying listener expectations with regards to things like root notes are a key way to create and release tension in music. Owen does the same thing here with the instruments themselves, having the violin become a disruptor in proceedings, arriving sharply, playing notes that might not classically be expected. But in spite of it conflicting it still feels beautifully arranged, the careful precision with which Owen understands their craft means that what abrasiveness there is plays perfectly within the confines of the song’s structure.
As much as I love the fact that the album cover is the lyrics to each song on the album, I think some metaphorical explanation can be made to why a large black shape obscures some of the words. There is careful attention paid to not making the lyrics or vocals too prominent in the album as a whole, as can be seen in the two instrumental tracks that Owen dubs “---> (1)” and “---> (2)”. The first of these is placed to give a calming moment before rushing into “The Riverbed”, feel how more startling it is to have this interlude suddenly leading into that sharp, bombastic jab of Riverbed’s violins. The second comes off of the tail end of “Soldier’s Rock” and concludes the album in a way that feels slightly uneasy, as if to evoke the conflict remaining, whilst acknowledging that nothing was left to be said on the matter.
And so the Owen Pallett approximation of a “personal” album comes to an end. Talking about themselves in a context that does not place them as fantastical all-powerful antagonist might feel to Owen like it would bore listeners “to fucking tears”, but it creates an experience equal in power to Heartland and Island yet accessible enough for people who aren’t particularly interested in abstract creatocreation dynamics and the cockatrices they may or may not kill along the way. So that’s why I want this to be your first Owen Pallett album. If you’re reading to the end having not listened to the Canadian before I say this, I appreciate you for sitting through what I just wrote, and I really, really hope you’ll give In Conflict a try.
Favorite Lyrics by Ervin_Salt
And when you wake
For the sixth straight day with the Tanqueray
You will rise, rise again
Drink again
  • "The Riverbed"
You stand in a city
That you don’t know anymore
Spending every year bent over
From the weight of the year before
  • "On a Path"
As it is said by the occupants
Who rally round the outer steps of parliament
So it is said confidentially
By the men and women working in the government
Pick up, pick up your bayonet
And run it through, run it through the stomach of your brother
  • Soldier’s Poem
Talking Points
  • People who have heard Owen Pallett’s work before, do you think it is fair or unfair to compare their albums to Arcade Fire/Grizzly BeaThe National etc.? People who have not heard Owen, would the way I’ve compared them to other artists convince you to try In Conflict?
  • To what degree do you think more abstract lyricists like Owen have had their audience size diminished by being part of a scene that prizes literal/universally-emotional lyricism?
  • Long time Owen Pallett fans, what do you think about the movement away from the violin being their primary instrument on In Conflict?
Thanks again to u/ErvinSalt for the excellent writeup! Tomorrow we've got u/simonthedlgger talking about Alvvays' Alvvays! As always, discuss the album in the comments below, where we'll also post the remaining schedule!
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2020.09.21 15:47 NicoKunde The Mystery of God’s Names

By Zhencheng, United States
Although Jehovah, Jesus, and the Messiah all represent God’s Spirit, these names only denote the different ages of God’s management plan, and do not represent God in His entirety. The names by which people on earth call God cannot articulate His entire disposition and all that He is. They are merely different names by which God is called during different ages. And so, when the final age—the age of the last days—arrives, God’s name shall change again. He shall not be called Jehovah, or Jesus, much less the Messiah—He shall be called the powerful Almighty God Himself, He shall be called the powerful Almighty God Himself, and under this name He shall bring the entire age to an end, and under this name He shall bring the entire age to an end” (Follow the Lamb and Sing New Songs). This hymn of God’s words helped me understand that there’s meaning behind the name God takes in each age. No single name can fully represent God’s disposition, what He has and is. A name just represents His work and the disposition He expresses for that age. God’s being is abundant and all-encompassing. People can’t delimit God or prescribe His name as unchanging. I never used to understand the meaning of the name God takes in each age, so I was sure His name couldn’t change. I blindly clung to the Lord Jesus’ name and refused to accept Almighty God’s work. I nearly lost my chance to welcome the Lord.
I went to church with my grandma since I was little. The pastor quoted these verses a lot: “Jesus Christ the same yesterday, and to day, and for ever” (Hebrews 13:8). “Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved” (Acts 4:12). I was convinced that only the Lord Jesus was the true God and mankind’s Savior, and as long as I kept His name and way, when He came back I’d be taken into heaven.
Then in 2017, my wife accepted Almighty God’s kingdom gospel. One day she brought a sister over to share Almighty God’s work of the last days with me. At first I was none the wiser, I just listened to her fellowship. But when I heard her say the Lord Jesus had already returned as Almighty God, I dug my heels in and didn’t want to hear any more. Knowing my wife believed in Almighty God, I started standing in her way. I said, “‘[T]here is none other name under heaven given among men.’ We can’t be saved unless we stay true to the name of the Lord Jesus. How can you not know this after all your years of faith?” Her rebuttal was, “We were saved in the Lord Jesus’ name. That just meant our sins were forgiven so we’re not condemned under the law, but we still live in a state of sinning and confessing. We’re not free from the bonds of sin. The Lord Jesus has come back and begun the Age of Kingdom with the name Almighty God. He’s doing the work of judgment beginning with the house of God. He expresses truths to reveal our sinful satanic natures that oppose God, judge humanity’s rebelliousness and unrighteousness and give us a path to resolve our sinful natures. We have to accept Almighty God’s judgment work of the last days and be cleansed of our corruption to be fully saved and enter God’s kingdom.” But as full of notions as I was, I couldn’t possibly take in what she said. I knew she always listened to her parents, so I enlisted their help to stop her, but she wouldn’t budge. She insisted that Almighty God is the Lord Jesus returned and encouraged us to look into it instead of judging and condemning it so rashly.
I went to great lengths to stop her from believing in Almighty God. I did Bible research whenever I had a spare moment, and found sermons online from well-known preachers that I’d download and play for her. I thought she would change her mind, but she actually preached to me in response. That made me angry, but my hands were tied. We each continued to practice our own faith. I later made a point of going head to head with her. When she read Almighty God’s words, I read the Bible. When she played her church’s hymns, I played hymns praising the Lord. When she listened to her church’s sermons, I listened to pastors’ sermons. We debated the Bible all the time, and even though she’d never been a match for me before in eloquence, knowledge, or experience, I was surprised to see that everything she said now was really insightful. Her words carried weight, and her rebuttals left me tongue-tied and at a loss. I knew I couldn’t underestimate her anymore. I figured, since I was no match for her with my current Bible knowledge, I had to systematically study the Bible to win a debate with her.
One day I saw this in Exodus Chapter 3 in the Old Testament: “And God said moreover to Moses, Thus shall you say to the children of Israel, Jehovah, the God of your fathers, the God of Abraham, the God of Isaac, and the God of Jacob, has sent me to you: this is My name for ever, and this is My memorial to all generations” (Exodus 3:15). This made me wonder, since God’s word clearly states that Jehovah is His name forever, why was He called Jesus in the Age of Grace? I then remembered this from the Old Testament: “I, even I, am Jehovah; and beside Me there is no savior” (Isaiah 43:11). But it says in the New Testament: “Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved” (Acts 4:12). What did it all mean? I read these verses over and over, but it just left me more confused. I thought, “Isn’t the Lord Jesus our Savior? Since Jehovah and Jesus are the same God, why are Their names different? Could it be true that God’s name can change, just like my wife said?” I thought about how, through our debates, I’d found that my wife’s understanding had grown since believing in Almighty God. Her words were insightful and substantive. Without the Holy Spirit’s work, no one could have progressed so quickly on their own. I started to ask myself, “Could I be wrong? Is Almighty God really the Lord Jesus returned? Is Eastern Lightning the true way? If it is the true way and I hold my wife back, wouldn’t I be going against God?” I was in turmoil, caught between a rock and a hard place. I wanted so badly to get this straight, but I just wasn’t willing to let go of my pride and ask my wife.
In an attempt to figure this out, I started visiting and subscribing to The Church of Almighty God’s YouTube channel, secretly looking into Almighty God’s work of the last days. One day, I saw a passage of God’s words called “The Savior Has Already Returned Upon a ‘White Cloud.’” It says, “‘Jehovah’ is the name that I took during My work in Israel, and it means the God of the Israelites (God’s chosen people) who can take pity on man, curse man, and guide the life of man; the God who possesses great power and is full of wisdom. ‘Jesus’ is Emmanuel, which means the sin offering that is full of love, full of compassion, and which redeems man. He did the work of the Age of Grace, and He represents the Age of Grace, and can only represent one part of the work of the management plan. … In each age and each stage of work, My name is not baseless, but holds representative significance: Each name represents one age. ‘Jehovah’ represents the Age of Law, and is the honorific for the God worshiped by the people of Israel. ‘Jesus’ represents the Age of Grace, and is the name of the God of all those who were redeemed during the Age of Grace. If man still longs for the arrival of Jesus the Savior during the last days, and still expects Him to arrive in the image He bore in Judea, then the entire six-thousand-year management plan would have stopped in the Age of Redemption, and could not have progressed any further. The last days, furthermore, would never arrive, and the age would never be brought to an end. This is because Jesus the Savior is only for the redemption and salvation of mankind. I took the name of Jesus only for the sake of all the sinners in the Age of Grace, but it is not the name by which I shall bring the whole of mankind to an end” (The Word Appears in the Flesh). I turned this over and over in my mind. Almighty God’s explanation of the significance of the names Jehovah and Jesus is crystal clear. I saw that God’s name for each age just represents that age. “Jehovah” was the name God took for His work in the Age of Law. It represented God’s disposition of mercy and damnation. “Jesus” was God’s name just for the Age of Grace, and it represented God’s disposition of mercy and love. I finally saw that God’s name isn’t unchangeable. Every time He does a new stage of work, He takes a new name. It stands to reason that when the Lord returns in the last days, it will be with a new name.
Then I saw these words of Almighty God. “I was once known as Jehovah. I was also called the Messiah, and people once called Me Jesus the Savior with love and esteem. Today, however, I am no longer the Jehovah or Jesus that people knew in times past; I am the God who has returned in the last days, the God who shall bring the age to an end. I am the God Himself that rises up from the end of the earth, replete with My entire disposition, and full of authority, honor, and glory. People have never engaged with Me, never known Me, and have always been ignorant of My disposition. From the creation of the world until today, not one person has seen Me. This is the God who appears to man in the last days but is hidden among man. He resides among man, true and real, like the burning sun and the blazing flame, filled with power and brimming with authority. There is not a single person or thing that shall not be judged by My words, and not a single person or thing that shall not be purified through the burning of fire. Eventually, all nations shall be blessed because of My words, and also smashed to pieces because of My words. In this way, all people during the last days shall see that I am the Savior returned, and that I am the Almighty God that conquers all of mankind. And all shall see that I was once the sin offering for man, but that in the last days I also become the flames of the sun that incinerate all things, as well as the Sun of righteousness that reveals all things. This is My work in the last days. I took this name and am possessed of this disposition so that all people may see that I am a righteous God, the burning sun, the blazing flame, and so that all may worship Me, the one true God, and so that they may see My true face: I am not only the God of the Israelites, and I am not just the Redeemer; I am the God of all creatures throughout the heavens and the earth and the seas” (The Word Appears in the Flesh). These words have such authority. Every single word shook me to my very soul. It had to be God’s own words. Who else could reveal the mystery of God’s names with such perfect clarity? The more I saw, the more I felt it was the truth, that it was the voice of God. I remembered John 16:13: “However, when He, the Spirit of truth, is come, He will guide you into all truth: for He shall not speak of Himself; but whatever He shall hear, that shall He speak: and He will show you things to come.” Wouldn’t the One who can tell us these truths and mysteries be none other than God Himself? I’d heard so many sermons from famous preachers, but not one had ever clarified the meaning behind God going by the name of Jehovah in the Old Testament, and Jesus in the New Testament. It really did seem likely that Almighty God was the appearance of the Lord Jesus! I felt so ashamed when I thought back on all the times I’d denied Almighty God’s work and tried to stop my wife from investigating it. I regretted off-handedly judging and condemning God’s work without looking into it. That was so ignorant and rebellious! Way back when, the Pharisees resisted and condemned the Lord Jesus’ work because of their notions and the Scripture’s literal meaning. Weren’t they ultimately cursed and punished by God? I had to learn that lesson from them, let go of my notions and imaginings, and look into God’s work of the last days. I couldn’t become a modern-day Pharisee, someone who works against God.
After that, every spare moment I had I secretly read Almighty God’s words and watched the church’s gospel films. I found a few, including The Mystery of Godliness and Faith in God, really moving. The brothers’ and sisters’ experiences were so genuine and their fellowship was clear as day. I became even more certain that Almighty God is the Lord Jesus returned. Then I wanted to tell my wife I would accept Almighty God’s work of the last days, but I couldn’t face it after all I’d put her through. One day when she got home from a gathering, I asked her, “What did you fellowship on today?” She shot me a look of bewilderment and said, “Are you asking me about the gathering because you’d like some fellowship? How about I have someone from the church come talk with you?” That was, in fact, exactly what I was hoping she’d say, but I was still a little embarrassed. I responded, “If you like.”
The next day, two sisters from The Church of Almighty God came to fellowship with me, and I shared my quandary. “I’ve been reading Almighty God’s words online and I now know that God’s name changes with the age, but there is something I still can’t figure out. It says in the Bible: ‘Jesus Christ the same yesterday, and to day, and for ever’ (Hebrews 13:8). ‘Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved’“ (Acts 4:12). The Bible clearly states that the Lord Jesus’ name can’t change, so why would He be called Almighty God in the last days, and not Jesus?” The sisters then read a couple passages of Almighty God’s words: “God’s essence and what He has and is shall never change. As for His work, however, it is always progressing in a forward direction, always going deeper, for He is always new and never old. In every age God assumes a new name, in every age He does new work, and in every age He allows His creations to see His new will and new disposition.” “Some say that the name of God does not change. Why, then, did the name of Jehovah become Jesus? It was prophesied that the Messiah would come, so why then did a man by the name of Jesus come? Why did the name of God change? Was such work not carried out long ago? Is God unable to do newer work today? The work of yesterday can be altered, and the work of Jesus can follow on from that of Jehovah. Cannot, then, the work of Jesus be succeeded by other work? If the name of Jehovah can be changed to Jesus, then cannot the name of Jesus also be changed? None of this is odd; it is just that people are too simple-minded. God will always be God. No matter how His work changes, and regardless of how His name might change, His disposition and wisdom will never change. If you believe that God can only be called by the name of Jesus, then your knowledge is far too limited” (The Word Appears in the Flesh). “The name of Jesus was taken for the sake of the work of redemption, so would He still be called by the same name when He returns in the last days? Would He still be doing the work of redemption? Why is it that Jehovah and Jesus are one, yet They are called by different names in different ages? Is it not because the ages of Their work are different? Could a single name represent God in His entirety? This being so, God must be called by a different name in a different age, and He must use the name to change the age and to represent the age. For no one name can fully represent God Himself, and each name is able only to represent the temporal aspect of God’s disposition in a given age; all it needs to do is to represent His work. Therefore, God can choose whatever name befits His disposition to represent the entire age” (The Word Appears in the Flesh).
Then one of them shared this in fellowship: “Saying God never changes refers to His disposition and essence, not to His name. God is always new and never old and His work is always moving forward. God’s name also changes along with His work and along with the changing of the age. Each name represents an age and one stage of God’s work. Saying God’s name is unchanging means it will not change for the duration of that age, so as long as His work in that age hasn’t been finished, His name will not change during that age. But when God launches His work in a new age, He changes His name along with His work. He uses His name to usher in a new age, and God’s names represent His work and His disposition for each age. God’s name was Jehovah in the Age of Law, and He did that age’s work with that name. He issued the law and commandments to guide early humanity in their lives on earth, so they knew what sin was, how to worship Jehovah God, how to keep the law and commandments, and be blessed by God. Any who violated the law were to be stoned to death or burned by heavenly fire. The name Jehovah represented the majesty, wrath, mercy, and damnation of God’s disposition in the Age of Law. By the end of that age, people were becoming more and more corrupt and sinful, and could no longer follow the law. They were all in constant danger of being put to death for violating the law. God became flesh and came to earth based on His work plan and the needs of corrupt mankind. He began the Age of Grace and ended the Age of Law using the name ‘Jesus.’ He redeemed mankind and gave us the way of repentance, showing God’s merciful and loving disposition and bestowing incredible grace upon humanity. He was ultimately crucified to redeem us from our sins. Ever since then, we only have to pray in the Lord Jesus’ name to have our sins forgiven and enjoy God’s abundant grace. The name Jesus only represents the work of redemption, and its meaning is the sin offering that redeems corrupt mankind, full of love and mercy. We can see that there’s meaning behind the name God adopts for each age. Every name represents His work and disposition for that particular age. God’s work is always moving forward, and His name changes with each stage of His work. In the Age of Grace, when God came among man, if He had kept the name Jehovah, His work would have remained in the Age of Law and corrupt mankind could never have gained God’s redemption. They would have ended up punished and condemned for violating the law. The Lord has now returned in the last days. If He kept the name Jesus, mankind wouldn’t be able to move forward from the forgiveness of sin of the Age of Grace. We’d never be freed from sin, cleansed, fully saved, and get into God’s kingdom.”
The other sister went on with more fellowship: “Even though the Lord Jesus redeemed us of our sins in the Age of Grace, we still have sinful natures. We’re arrogant, selfish, despicable, deceitful, evil, and greedy. Our corrupt dispositions are still deeply rooted within us, and they drive us to sin and resist God all the time. We live in a state of sinning and confessing. We can’t practice the Lord’s words. We can’t enter His kingdom yet because God is holy, filthy human beings aren’t fit to enter His kingdom. In the last days, God has become flesh again with the name of Almighty God, beginning the Age of Kingdom to thoroughly save corrupt humanity from sin.” She said that the Lord’s name in the last days is Almighty God, and it fulfills those prophecies in Revelation: “Him that overcomes will I make a pillar in the temple of My God, and he shall go no more out: and I will write on him the name of My God, and the name of the city of My God, and I will write on him My new name” (Revelation 3:12). “I am Alpha and Omega, the Beginning and the Ending, said the Lord, which is, and which was, and which is to come, the Almighty” (Revelation 1:8). And there’s Revelation 11:17: “We give You thanks, O LORD God Almighty, which are, and were, and are to come; because You have taken to You Your great power, and have reigned.” She continued, “Almighty God does the work of judgment in the last days. He expresses the truth to expose mankind’s corrupt nature so that we can understand the root of our corruption, see the reality of our corruption by Satan, and know God’s righteous, unoffendable disposition. Ultimately, we become able to hate and forsake ourselves, practice God’s words, and fear God and shun evil. We will be gradually freed from our satanic dispositions, cleansed, and fully saved. God also separates people according to their kind through His judgment work, revealing His righteous, majestic disposition that tolerates no offense. In the end He’ll destroy this old world, concluding His 6,000-year management plan. All who accept the name of Almighty God, who undergo judgment and are cleansed, will be brought into God’s kingdom. Those who hate the truth, who oppose and condemn Almighty God will be cast out and punished in the great disasters. That will bring God’s management work to a close. Then God won’t have a particular name, but His original identity will be restored—the Creator. It’s just as God said: The day will arrive when God is not called Jehovah, Jesus, or Messiah—He will simply be the Creator. At that time, all the names that He has taken on earth shall come to an end, for His work on earth will have come to an end, after which His names shall be no more. When all things come under the dominion of the Creator, what need has He of a highly appropriate yet incomplete name? Are you still seeking after God’s name now? Do you still dare to say that God is only called Jehovah? Do you still dare to say that God can only be called Jesus? Are you able to bear the sin of blasphemy against God? (The Word Appears in the Flesh).” Hearing the sisters’ fellowship was electrifying. I saw how profound the meanings behind God’s names are. He is the Creator who didn’t originally have a name. He’s taken on different names only for His work to save mankind. Jehovah, Jesus, and Almighty God are all one God. He’s done three different stages of work in three different ages, and the name He takes in each age has its own significance. They all represent God’s disposition and work in that age. Once I understood all this, I formally accepted Almighty God’s work of the last days.
Looking back, I hate how blind, foolish, and unreasonable I was. I just adhered to the literal Scripture, imagining God’s name could never change and that the Lord had to be called Jesus when He returns. Without Almighty God expressing the truth and revealing the mysteries of His work, I would have clung to the Bible my whole life, never understanding the truth behind God’s names. I especially wouldn’t have understood God’s work. I would have clung to the name Jesus and so resisted Almighty God’s work of the last days and then I would’ve been eliminated. Now I see, I owe so much to God’s guidance that allowed me to hear His voice and come before Him. I give thanks for Almighty God’s salvation for me!
submitted by NicoKunde to u/NicoKunde [link] [comments]


2020.09.21 12:46 TELMxWILSON Fresh tunes alert! Pendulum isn't the only new tracks you should be checking out this week. Here are all the new releases listed [+weekly updated Spotify playlist] New Music Monday! (Week 38)

Weekly updated Spotify Playlist H2L: New Drum & Bass
Soundcloud Playlist H2L: New Drum & Bass Soundcloud
Youtube Playlist H2L: New Drum & Bass Youtube
Last Week's list http://reddit.com/isig1u
 

Picks Of The Week (by u/lefuniname)

1. Pendulum - Driver / Nothing For Free [Earstorm Records]

Recommended if you like: MUZZ, Metrik, come on, it’s Pendulum man
Well, what did you expect? For me to not talk about new Pendulum?
Ten years. We Pendulum fans have waited ten long, hard years. Every year since pretty much 2015 we were promised new releases, the infamous fourth album. Even though at the time Rob Swire pretty much said he hated the idea of that, he also said they would come back with something eventually. Year after year, Knife Party release after Knife Party release, they kept dropping hints about new content Coming Soon™. 2016 saw the band’s return to the festival stages with their Knife Party / Pendulum “hybrid” show at Ultra Miami. A big moment for Pendulum fans around the world. Also a sign for more to come, or so I thought. An interview here, a cheeky ID there, enough to keep the hype flame from going out completely, but sometimes it felt like it was “just” a return to live shows and that’s it. The 2017 Pendulum returns teaser videos that turned out to be just a teaser for their return to South West Festival did not help clearing my doubts about actual new tracks by them coming anytime soon. A year later they actually released a new album under the name of Pendulum, their all-star remix album The Reworks. Not quite what I was waiting for, but enough to satisfy the need for a while.
A few years later, after all this, here we are. Actual, new, released music from Pendulum. 2020 has been wild man.
And what a release this is!
Released last Wednesday, Driver starts off exactly where Pendulum left off on Immersion, with the person that was apparently drowning in Encoder gasping for air and getting out of the water in Driver. I know this is not exactly a new revelation to anyone that has visited the YouTube comment section of the new Pendulum singles, but oh well, it’s still a nice little easter egg.
Anyway. What a way to start their comeback. With Driver they perfectly managed to bring their signature sound into the current era. One could even say it’s one of the most Pendulum-sounding tracks ever. And I’m lovin’ it. It’s the perfect “comeback banger” track, showing everyone who doesn’t know them what they’re about and showing the fans that they haven’t forgotten their old sound. In true Rob Swire fourth-wall-breaking fashion, the vocals even directly mention that they’re “Back with a track called Driver”. Such a banger, honestly.
Onto the second single, Nothing For Free, known to some as Muffin For Free. Once you hear it you can’t unhear it. It’s definitely more of a half-time vibe, but when you got Pendulum-quality production and Rob Swire vocals, who even cares that much about genres anymore. In other words: It’s not drum and bass, what you gonna do? Started as a Knife Party project back in 2016, this is a track the group has sat on for quite a while. If you want to hear how strange the Knife Party version of this track would have sounded like, check this video out! That’s the earliest version I could find, but Rob confirmed in the latest interviews that it was definitely written in 2016. In a weird turn of events, those lyrics are even more applicable to the current global situation than ever, which the music video, in which rabbits fight the global Myxomatosis pandemic, makes clear as day. All in all, an amazing second single.
So what’s next for Pendulum then? Is this a precursor to a full album? Turns out, no, it’s not. But fret not, that doesn’t mean the end of new Pendulum content. They plan on releasing double singles every now and again for the near future, because, and I quote, “I don’t think people listen to fucking albums anymore”. Oh well, as long as we get new Pendulum I honestly don’t mind.
Absolutely incredible release this one.

2. Synergy - Monochrome / By Accident [NËU Music]

Recommended if you like: Proxima, Redpill, Buunshin
It took like 5 months of waiting, but today’s the day. I can finally fanboi over a new NËU Music release.
Founded in 2017, the sister label to Phace & Misanthrop’s Neosignal, has quickly established itself as one of the best smaller or upcoming labels in the scene. Until now they’ve featured the likes of Buunshin, Proxima, The Caracal Project, Tom Finster (<3) and, of course, Synergy. Sadly they don’t release music often very often, but their quality over quantity approach is also something to admire. Everything they put out is a banger. Just like this latest double single from Russian duo Synergy.
Allow me to introduce the two. Once known under their old aliases Segment and Concept Vision, they have quite a few releases under their belt at this point. From Blackout over Eatbrain to VISION they have released on a lot of the subgenre’s biggest labels. Since the last few years they have pushed their own sound more and more into the techy direction, while still retaining their neuro high energy “roots”.
And let me tell you, they have delivered just that with their latest EP. Both Monochrome and By Accident have some amazing sound design while still being aggressive as hell, the former more so than the latter. With some of the most interesting and weird drums and an addicting, forward-smashing rhythm throughout the drop, Monochrome just blows your face off. By Accident on the other hand is more of a “fill the whole room with bass” kind of vibe. It’s way more interesting than that though, trust me. For me at least.
As always, great stuff from Synergy!

3. Alix Perez - Without End LP [1985 Music]

Recommended if you like: Lenzman, Halogenix, Satl
I probably don’t need to introduce this one.
Alix Perez has been a consistent source of quality music for longer than I can even remember at this point. The same can be said for his very own label 1985 Music. If you have any interest in soulful and/or deep liquid and don’t know either Alix or his label, I urge you to check them out thoroughly.
Whether it’s liquid or deep dnb or dubstep, Alix Perez delivers. His newest release, the Without End LP, or rather a really big EP, is one for the fans of his more soulful work. An entire 8 tracks of just Alix Perez liquid - I’m in heaven. And it’s not just a random collection of songs put together, it’s something that should be experienced from start to finish. I mean, do what you want, the tracks are also great on their own, but together they form such a coherent picture that I would definitely recommend it if you have the time.
Highlights for me would be first of all the two Liam Bailey collaborations, Moving On and Lost & Proud. Especially the latter one has caught my heart. There’s just something about Liam’s voice that makes it a perfect match for this style of dnb. Another one of my personal highlights is the collab with Workforce, Distant Figures. Just makes me wish for more from those two. Perfect Stranger, yet another collab, this time with former Ivy Lab’s Halogenix, is another track to add onto the highlights pile. A bit deeper than the other ones I’ve mentioned, but still oh so good. If you fancy Alix’s deeper side I would also recommend listening to Ain’t Nothing. The rolling drums, the perfectly used soulful vocal sample, the atmospheric continuous bass, it all just puts you in a trance-like state.
At this point I have recommended more than half of the album already, oops. Just… listen to the whole thing. It’s great throughout!
P.S. If you liked this release, I would also recommend the two new double singles from Liquid DnB master Calibre. Both falls to you VIP / end of meaning and the DRS collaborations white horse / living for are lovely as hell. Especially falls to you vip. Too good man, too good.

4. Moekel - Eggong / Goomnepla [Baked Beats Recordings]

Recommended if you like: Subtension, Camo & Krooked, Bensley
It’s time for some Schnitzelpower!
This week’s Underrated Release Of The Week™ is coming from Moekel, an upcoming producer from Austria.
Moekel started DJing in his local student club, the Poco Loco in Graz. At some point he moved away from the chart music of that scene away to more electronic sounds, first deep house, now drum and bass. He also produces HipHop for other artists, but not under the Moekel moniker. Or Moekelniker, if you will. Okay that sounded better way in my head. I’m just gonna roll with it now though. His sound is very much inspired by fellow countrymen Camo & Krooked, but with a very own twist on it. It’s a very dreamy sound, in my opinion best exemplified in his Analogue Dreaming / Modulation double single, which is also the release that made me a fan of his.
This newest double single Eggong / Goomnepla, released on the Austrian artist community label Baked Beats Records, is a continuation of that same unique sound.
First of all, those track names are… unique. I’m still trying to find out if they are weird Austrian slang or just random strings. I found out that if you read it backwards the latter one says “Alpenmoog”, which could be referencing a Moog synthesizer that he is using in the Alps, somewhere in Austria. But maybe I’m reading too much into this.
Anyway.
If you listened to Analogue Dreaming you might recognize some of its elements in Eggong. The whole dreaminess of it all. With a big focus on some large room-filling BRWOOM synths moving through the otherwise relatively minimal arrangement he manages to build up an atmosphere that makes you think you are slowly moving through space. Goomnepla on the other hand is a bit more energetic than its counterpart. The long atmospheric buildup that drops into a single, hectic drop is certainly different to Eggong in its execution, but it still conveys a similar Space vibe to me. All very interesting and unique stuff.
He mentioned in a recent interview that he has quite a few more releases planned soon(ish), so keep an eye out for new stuff from him if you liked this one!
Other Hidden Gems this week:
  • High Resistance - INCEPTION V.1 (shoutout to Cyntax’s and Confusion’s tracks, absolute highlights for me)
  • Ice-O-Later - Gunman
  • Plasmator, Volition - God Particle (released the week before, but still wanted to mention it)
  • Xeomi, Kaiza - Cypher EP
  • Drumcatcher - Get Them EP
  • Nami - Bridge Into Your Memory
  • Disrupta, Duskee - Deep Thoughts
  • Unxnown - Kingston Jive / Booty Call
  • Screamarts - Dystopia EP
  • Aaronson - Funk Show  

New Releases

submitted by TELMxWILSON to DnB [link] [comments]


2020.09.21 03:40 MountainGerman Social isolation is crushing me, but it is also paradoxically a comfort. Or perhaps that's just a defence mechanism.

I'm not entirely sure where to begin, so forgive me if I'm a bit all over the place. The situation I'm in was not caused by Covid. I'm on disability due to blindness. Because I can't drive, and because it isn't always safe for me to cross the street, I typically stay at home, pandemic or no. And I typically stay in my room; I live with my parents.
I wake up each day surrounded by the same four walls that I will see all day, save for when I fix myself food, bathe, or do laundry. My bedroom is small and cramped with little walking space. For furniture, I have five bookshelves against two walls (three on one side, two half-bookshelves on the other), a full (not queen) sized bed, a chair, a coffee table and a television on top of the table. There's no air conditioning in the house, so I also have two standing fans (those thin, tower-like ones) and one thin, tall lamp for lighting. This is where I spend most of my days.
It wasn't always like this. In 2017 I was with a man whom I expected to marry. He'd gotten me a promise ring and all that happy fun stuff. But addiction to pornography (he spent thousands of dollars on it, I'm still not sure why but I have my speculations), seemingly compulsive lying (often with no obvious reason for it), and severe depressive spirals led me to break it off after years of trying to make it work. Calling it off was huge for me because I was calling off a future with a man I loved and independence I'd never before then known how sorely I needed. We had our own place, but he was the leaseholder, so my daughter and I ended up rooming with a friend and her mother. Thankfully, at that time, my ex-husband and I (we divorced due to domestic abuse--he choked me and beat me in the face, and for several years he wasn't in our daughter's life of his own choice, but after anger management and finding someone more compatible, he mellowed out and is a good father now) had it arranged that she lived out of town with him during the school year (I have her all weekends, breaks, and summer). I had next to none of my things save for clothes and slept on the couch. There was no place else for me. My friend's mother is a severe hoarder, so honestly I was lucky to even have the couch. My ex was kind enough to allow me to keep my other things at the house until I had a place for them. When my daughter was with me, we stayed at my great-grandmother's house. A few months later, in late 2018 My friend, her mother, and myself rented a place with more space. One that would have a room for all four of us (myself, my daughter, my friend, and her mother). But the extent of the hoarding was so bad that I had nothing outside of my bedroom and my daughter's bedroom. My friend's mother took up the the entirety of the garage with her things, on top of the things inside the house, so it wasn't until I was forced to move out (because she started putting things into my daughter's room without my consent) that I came to be at my parents' house in November 2019. There was initially no heat because my parents hadn't paid the bill, and we didn't have heat until late Novembeearly December. It was cold showers and a colder room until then. But even when we finally got heat, my room remained cold because there are two large windows in it, and the vent leading to the room doesn't work.
I spent the next month moving some of my things over from my ex's house, having to fight my step-dad the entire way, and taking care of my daughter for Christmas break. Early January, I was told by my ex that he had made bad financial decisions for his then-girlfriend, who was recovering from drug problems, which led to him being unable to pay rent, so I had to get my things by the 31st. That wouldn't have been a problem, but he didn't actually let me start working to move it all until the tail end of the month. In total, I had something like 3 days to work. And I had to do it all on my own, which wouldn't have been so upsetting if I'd been allowed to start sooner, or if he hadn't asked me to help him pack up his things at the last second (on top of still having to argue with my step-dad). I ended up just leaving a lot of my things at the curb for the trash. I didn't even go through a lot of it because I didn't want to see what I was throwing away. My step-dad was irritated at me for bringing "too much stuff" into the house as it was, and the definition of "too much stuff" was "more than I could fit in my bedroom". He forbade me putting anything in the attic, though there was plenty of space, and initially forbade the basement. He said he'd clean out a corner of a back room in the house for me to stack boxes, but that didn't happen, so I had to do that myself as well.
My isolation "began" when I was in that house with my friend and her mother. My friend worked two jobs, and her mother worked long hours so I was often alone as it was. But problems arose for two reasons. The first was the hoarding, which prevented me from having my things outside my or my daughter's bedroom. It didn't feel like a home for me as a result. The main room didn't feel like it was even partially mine, since nothing of mine was in it. The second issue was religion. I'm Eastern Orthodox (think Catholic-esque). My friend and her mother are anti-theists (not just atheists, but anti-theist, in that they thought all religions should be abolished/banned). I could have lived with atheists. I don't peddle my faith, because I don't feel it's my job. And I understood why they felt that way, and sympathised with it. They'd been victims of abuse by the monstrosity that is the Jehovah's Witness cult. The mother had a limp as a result of having something wrong with one of her legs/hips at birth, and her mother refusing to have it corrected--an easy surgery, but she wouldn't sign off on the small chance of a blood transfusion being given if it were necessary. When she was beaten and raped by her husband and my friend was also physically abused by her father, they were told by the head of their congregation that it wasn't rape since she was married, and she was to submit sexually to him whenever he wanted. They couldn't celebrate birthdays, or have gifts. I speculate that her trauma and lack of control due to their influence is what caused the later hoarding problems, but I'm no psychologist. And when they left the "church" they were shunned by their family. I cannot in any way judge them for anything, but least of all that their experiences led them to hate religion as a whole. Who could fault that? The religious problem there didn't come from me peddling my faith. At one point, my friend said that me talking about my faith made her uncomfortable, and so I thanked her for her honesty and never brought it up again. But this was a one-way street. In hindsight, maybe I should have asked that they not make disparaging comments at least against my faith, but I didn't because I didn't want them to feel like they should control their speech around me. I didn't want to make them uncomfortable in any way. Even political discussions were hard to have, because whereas I like to discuss things to learn other perspectives, it always seemed like they did it to win. I don't know if that makes sense. In any case, it felt less and less like I could be "me" outside my room. Plus sometimes I'd go out into the living room to hang out with no intention of really doing much but nodding along to whatever they had to say and, as I would sit down and greet my friend on the couch while she played a game of her own to make small talk, she'd suddenly be "so exhausted from work" or "not feeling well" and need go to sleep. At that point, when my daughter wasn't there, I stayed in my room 99% of the time, reading or playing a video game because that was at least comfortable. I could exist without feeling like I was imposing on someone else.
When I got to my parents' house, having to deal with having no heat, then having to haggle with my dad on just having my own things in the house, because there "wasn't enough space" for me (or my daughter) outside my bedroom, it wore me down further. He's an alcoholic, so half the time he doesn't remember what he even says, but he'll accuse me and my mother of "not listening" to him. He even argued against me giving them a dryer for free when theirs was broken and the dryer at my ex's was mine. He argued against it until the last day, and then still changed his mind on moving it down to the basement to hook it up, then changed it again saying he'd do it, and I think around March it was finally hooked up. Prior to that, it sat in the space where I was supposed to be able to store some of my things, therefore reducing the amount of already-limited space I was "allowed" to put stuff. He's also made comments to me that he was glad that I was Christian "so long as I wasn't Catholic" (Fun fact: Prior to 1054, the Roman Catholic Church and the Orthodox Church were one and the same). And then if he brought up religion and I got excited to talk about my faith (like if I talked about admiring a particular saint, or discussed any church history at all), he'd comment that I was taking it too seriously.
He also got upset in February when my sister and now brother-in-law were to be married because "his dad wasn't invited" when it was just a simple courthouse wedding and the real ceremony would come later when they could afford one. It broke my sister's heart that he wouldn't be there, but she wouldn't budge on inviting our grandfather because she's uncomfortable around him for what one might politely call insensitive political views. For me, I took her side. It was her wedding and she could invite whomever she wanted. But at first he just fought with both of my sisters who chewed him a new one, until they mutually disowned each other, and he said to me that I was "his only remaining daughter", which struck an awful chord with me. As I was growing up, I was only ever his daughter when things were "good". If a medical bill needed paying on my behalf or teenage-me had the audacity to act like a teenager and question his authority, I wasn't his daughter, and I should be grateful that he stepped up for trash like me when my biological father left the picture. So just in general, I'm uncomfortable around him. It isn't all bad, but it's better the less we talk. I hate that it's like this.
So I stay in my room. Just like before, it feels like I can actually be "me" here. I don't even have to say anything because there's no one to say it to.
My mother and I generally get along. But we share only a small number of interests. She watches a lot of TV and I watch almost no television, save for a handful of shows here and there. I would say that if it were just her, (my dad, when not working, is on his computer in the living room always) I'd be more comfortable leaving my room, but I can't say that with any amount of confidence. When she's home, she's also on her computer and watching television. And I've come to realise that the sound of the television, if I'm not actively watching whatever is on it, actively grinds against something in me. I don't know what it is, but it's grating. And this is made worse if she's watching a YouTube video and has the TV on. The chaos of sound is too much for me and it's like I physically react to it. I don't know if that makes sense. I don't know if that's even sane or normal. But it is hell. I have to be away from it. I don't tell her. I don't even know how to tell her that because it doesn't make sense to me. How could I make it make sense to her?
So for years now, save for times when I'm caring for my daughter, I'm in my room, alone, more often than not, now more than ever. I have few friends, and the ones I have are looking to move out of this town. One I haven't seen since January, and the other I see once a week on Thursdays. Those days are my favourite days. And soon, they'll be gone too, when she moves away.
And the more I think about it, the sadder it becomes. In some ways, it could probably be argued that my isolation began even before I broke up with my ex years ago, because he didn't agree with some of my reading interests (we booth liked studying history, but he didn't like that I liked reading about central Europe; that's a story in itself) nor did he like the music I listened to, so I stopped talking to him about my interests and put headphones in and stopped singing my favourite songs when we were together. It feels like moving with my friend only took it a step further, when I physically stayed in my room alone because I felt emotionally/socially alone.
I feel safe in this room as much as I feel like it's a prison. It's quiet and peaceful, but there's no one to share the peace with. When I read something interesting in a book,there's no one to share it with. When I'm excited, there's no one to share that excitement with. Of course I share these things with my best friend I see once a week. I send her all kinds of messages, but I hate myself because I feel like I'm messaging her too much (even though she has explicitly told me otherwise, I can't help but feel guilty for it). There's just no one in general. Or rather, soon there will truly be no one in general.
I don't know what to do, except, I suppose, to scream into the Reddit void.
Thank you in advance if you read all this nonsense. I apologise for wasting your time. Edit: Spacing, because I suck at formatting.
submitted by MountainGerman to TrueOffMyChest [link] [comments]


2020.09.20 20:03 tutetibiimperes Nugu Roundup #57 - One Hitters (Part 2) - 200920 + Album Giveaway!

Hello and welcome to the latest Nugu Roundup!
What is this?: This is a weekly feature designed to highlight the unknown/underappreciated groups and soloists working hard in the Kpop world that often fall under the radar. Please share your own information, favorite performance videos, fanmeet stories, or anything else relevant below!
Last we learend We Can Do It with ENOi. A few months ago I did a special edition of the Roundup featuring groups that never made it past their first release. Since I barely scraped the surface that week, and since the group I wanted to cover this week has a comeback coming in a few days and I'd like to wait on that to include it, let's explore some more groups that were 'one and done' yet still showed some great talent.
What is Nugu?: While in Korean it literally means 'Who' in the broader Kpop context it refers to groups that are generally unknown amongst the greater public. It doesn't have to mean they're extremely new, though it can, and there are of course varying degrees of 'unknown' which some groups having very strong niche fandoms and others being almost invisible. I take a fairly broad view and will include groups that may be known to some, but who don't have widespread name recognition.
Let's get on with the show...
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Note: Criteria for these are groups that have only a single release (digital single, single album, or EP), and who have debuted in 2018 or earlier. These groups aren't necessarily disbanded (and it's rare, though not unheard of, for some nugu groups to suddenly re-appear after a multi-year hiatus) and if anyone has news about any of them having current activities, please share. I'm not including sub-units or special project groups.
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P.O.P
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O My Jewel
BT Swing
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MVP
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AiRiSu
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LULUZ
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A6P
____________________________________________
BLOOMY
That's it for today, let's get the discussion on!
While this has been the second installment in this series, there are plenty of groups like this available for a third down the line if anyone is interested.
As always, if you have any suggestions for groups, content, or things you'd like to see, please let me know in the comments below.
Also as always, a big shout-out to u/not-named-in-credits for founding nugutown and u/sharnaranwan for continuing the work over there.
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2020.09.19 19:19 Sachyriel Juggalos and the FBI, the Qanon angle

So I like Juggalos, I'm not the biggest fan of the scene, but I think the songs are interesting. Couldn't name the albums, sorry. And I like that they've found community of like-minded people to hangout with, that's great.
https://en.wikipedia.org/wiki/Juggalo_gangs
Insane Clown Posse objects to characterizations of its fanbase as a gang, and has challenged the Federal gang designation in court. In December 2017 the U.S. Court of Appeals for the Sixth Circuit ruled that ICP failed to demonstrate harm caused by the FBI's 2011 report.
Thanks Obama.
Anyway I was thinking about this label, and how it does seem unfair to someone who likes Jaggalos more than the FBI (not a huge fan of the FBI for COINTELPRO against leftists tbh). But the FBI does have a point, there are criminal elements using the culture, that's out of the hands of the musicians, and damn well most of the acutal peace-loving Juggalos and Juggalettes. They didn't want to be associated with Organized Crime, they wanted to be Killer Clowns.
We live in a Society.
What does this have to do with Qanon? Well tbh most Qanon people are conspiracy theorists, and Qanon is telling people to "Trust in the Plan" meaning be complacent, give Donald Trump your energy UWU. I think only a minority of Qanon people are actually violent or criminal, and the FBI maybe using that wide brush once again.
I don't really mind the FBI tarring all of them together, I even brought a large bag of ostrich feathers, but I think I can see a parallel. It does not make me more sympathetic to Qanon, because they're wild conspiracy theorists, motivated by a sickening political agenda and harboring cognitive dissonance to stay on their true path.
I wanted to know what others think. Qanon maybe a dangerous conspiracy theory, but it does have elements that make the believers complacent in sitting on their ass watching Youtube videos about *checks notes* Justin Trudeau is the son of Castro and that's why he sold out Canada to China, to hurt Trump. But only a few of them try anything more than online harassment (still bad) that rises to criminal levels, and they're also denounced by Qanon people as "false flags" (even if they agree with what they did, they distance themselves from it). So do Juggalos, who denounce the criminals.
We can already see a split forming inbetween in the Facebrick and Instamom side of it and the original Punisher-Twitter and 8kun Psycho side of it, where "save the children" is the watered down version of Qanon that doesn't want everyone executed in Guantanamo but wants justice, and the ones who want to make America Genocide Again.
Let me know what you think.
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2020.09.19 11:46 ThatMidoriTachibana An (Over)analysis on JTBC Newsroom's Ending Theme Trope

I've been watching Newsroom for quite some time now, and one thing that has always piqued my interest is the ending theme, as I often call it.
So at the end of each broadcast, the main anchor (Seo Bok-hyun from Mondays-Thursdays, Han Min-yong from Fridays-Sundays) will choose a song that will serve as their ending theme for that day. I think this actually sets them different from other flagship newscasts.
Now, on to the (over)analysis of the main anchors' musical preferences.
I commented this on a kpopthoughts thread on the OP's gateway to the Korean band and indie music scene, so lemme paste it here lol
A few things I observed on the musical preferences of the three anchors is:
  1. Sohn Suk-hee and Han Min-yong's preferred genres are mostly older stuff, but they do listen to newer ones as well (SSH chose Wanna One's Spring Breeze and BTS' Spring Day as ending themes before, while Han Min-yong chose Love you (bye) for her birthday ending theme (July 19th) and on July 5th, she ended the broadcast with How Do You Think).
  2. SSH is outspoken yet subtle in his approach, as seen in a lot of his song choices. He has an affinity for those that speak about political and social issues. Prime example is when he chose James Taylor's You Can Close Your Eyes when it was announced that politician Roh Hoe-chan died by suicide (he was a close friend of SSH's). More examples are cited if you search JTBC Newsroom in Korean in the Namu wiki.
  3. Seo Bok-hyun leans towards indie and chill songs. It seems that he wants to end a rather tiring 1h30m broadcast with a refreshing or relaxing song, obviously very different from SSH's mentioned earlier. Surprisingly, I like his song choices.Example: The September 16, 2020 broadcast when he ended it with Jaurim's Our Failure
  4. While HMY does prefer older stuff, she likes jazz songs and instrumentals more. I barely see her choosing vocal-heavy ones like Love you (bye) except on a few occasions...really few.Example: The August 8, 2020 broadcast when she ended it with Billie Holiday's Stormy Weather (but it was really stormy that day though lol)
Yeah, my endlessly curious and overanalyzing self helped lol
Here are the full playlist of ending themes from 2017-present. Seo Bok-hyun's starts at January 6th this year, Han Min-yong's on February 14th.
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2020.09.17 20:10 applesanddragons Protect the #IStandByDaenerys Narrative!

"Some have only one great lie they tell so often that they almost come to believe it . . . though some small part of them will always know that it is still a lie, and that will show upon their faces." -The Kindly Man (AFFC Arya II)

Before Season 8

1
2
3
4
5
6
7
8

During Season 8

9
10

After Season 8

11
12
13
14
15
16
-Nickolaj Coster-Waldau: "Everyone wanted something specific and different from what they got." [variety]
-Sophie Turner: "So Daenerys becoming something of the Mad Queen — it shouldn’t be such a negative thing for fans. It’s a shock for sure, but I think it’s just because it hasn’t gone their way." [nytimes]
-Emilia Clarke: Caller: "and you're not going to please everybody." Clarke: "No. Exactly." [BBCradio]
-Kit Harington: "I think it's going to divide. But if you track her story all the way back, she does some terrible things. She crucifies people. She burns people alive. This has been building. So, we have to say to the audience: You're in denial about this woman as well. You knew something was wrong. You're culpable, you cheered her on." [EW]
17

People who saw through the fans' insane bullshit

Kelsey L. Hayes [1]
Sargon of Akkad [1]

People who are perpetuating the wack IStandByDaenerys narratives

Lucifer means Lightbringer [1]
Quinn's Ideas [1]
GrayArea [1]
Order Of The Green Hand [1]
The Dragon Demands [1]
Lindsay Ellis [1]

Why did almost everyone think Game of Thrones is a female power fantasy?

Feminism - The insistence that society is a corrupt oppressive patriarchy. AKA All men are evil and all women are good.
Marxism - The insistence that life is about power struggle. Results in the insistence that all hierarchies are corrupt. Results in the worship of victimhood.
Postmodernism - Skepticism of meta-narratives (overarching explanations). Results in the insistence that all interpretations of the world are equally valid or invalid, as suits the Marxist's needs to justify a transfer of power, as suits the FeminiMarxist's needs to justify a transfer of power from men to women. Results in the belief that art should be excavated to find which power group the artist is supporting or neglecting. Paradoxical when combined with marxism because "life is a power struggle" is itself a meta-narrative. Paradoxical when combined with feminism because "society is a corrupt oppressive patriarchy" is itself a meta-narrative.
= Postmodern Marxist Feminism (PMF)

ASOIAF fans injected PMF into the story

[+PMF] Gender and ASOIAF: modern, historical or Westerosi sensibilities? [asoiaf] Nominated for award by moderator mightyisobel.
[+PMF] A Song of Ice and Fire has a rape problem [tumblr]
[+PMF] Ladies Die in Childbed. No One Sings Songs About Them [tumblr]

GoT fans injected PMF into the story

[+PMF] How the Patriarchy Screwed the Starks [prospect] "The idea that patriarchal systems are universally damaging is, rhetorically, one of the most important for spreading many forms of feminism. Far too many men believe that feminism is an attempt to prop up women at men's expense (the entire men's rights movement hinges on that belief). "
[+MF] Here's What Sansa Has Learned From Cersei [thewrap]
[+MF] Fight Like a Lady: The Promotion of Feminism in Game of Thrones [winteriscoming]
[+MF] Game of Thrones has betrayed the women who made it great [guardian]
[+MF] Representative AOC & Senator Elizabeth Warren: "We were getting so close to having this ending with just women running the world." [1]

GoT Producers injected PMF into the story

[+PMF] Season 3 Episode 3
Missandei: Valar morghulis.
Daenerys: Yes, all men must die. But we are not men.
Book 3 A Storm of Swords
“Valar morghulis,” said Missandei, in High Valyrian.
“All men must die,” Dany agreed, “but not for a long while, we may pray.”
[+MF] Cogman: "Daenerys is arguably the most easily identifiable and iconic. She is T-shirts and coffee mugs and posters and bobbleheads and memes and the name of hundreds of kids around the world with GoT fan parents; a fearless figure of female empowerment." [EW]
[+PMF] Season 8 Episode 2
Sansa: Without Littlefinger and Ramsay and the rest, I would have stayed a Little Bird all my life.
Translation: Worship of victimhood. Victimhood is character progression and a qualification for power.

GoT cast injected PMF into the story

[+PMF] Gwendoline Christie: "She has no sexual experience and she decides to allow herself that opportunity. And I don’t think she’s a fool." [people]
Translation: Women shouldn't abstain from sex until marriage because virginity in a woman is an invalid trait for a man to desire.
[+MF] “But having said all of the things I’ve just said…” Clarke says. “I stand by Daenerys. I stand by her! I can’t not.” [EW]
Translation: Having been prodded to condemn Dany's ending for the duration of an entire interview and every interview since the ending, Emilia Clarke feels like a traitor to women and kneels before the feminist mob.

The schools injected PMF into the population

[+PM] The Evergreen Equity Council [youtube]
[+PFM] Headline: We must stop indoctrinating boys in feminist ideology
"a school in Oxford has become the first to introduce “Good Lad” workshops, in which boys are singled out for sessions that teach them about “the scale of sexual harassment and violence aimed at female students” and how they must stand up for women's rights...." [telegraph]
Translation: Society is a corrupt patriarchy and your boy is a corrupt patriarch.
[+PFM] "The Feminist Majority Foundation is dedicated to achieving civil rights for all people through affirmative action programs for people of color and women" [Feministorg]

Why you should destroy their bad ideas with little regard for their feelings

100,000,000 corpses [Jordan Peterson]

Why you should use minimal necessary force, forgive them and then leave them alone

The schools injected PMF into the population

Scraps

Emilia Clarke: "It’s not like she’s suddenly going to go, ‘Okay, I’m gonna put a kettle on and put cookies in the oven and we’ll just sit down and have a lovely time and pop a few kids out.’ That was never going to happen. She’s a Targaryen. “I thought she was going to die,” she continues. “I feel very taken care of as a character in that sense. It’s a very beautiful and touching ending.” [EW]
The mob will go after GRRM next: Headline: Game of Thrones' George RR Martin accused of making racially and sexually insensitive comments at awards show [digitalspy] Every apology to the mob is used as a trophy to induce fear into dissenters and gain power over the fearful.
How Feminists spend their time in DaenerysWinsTheThrone: "[Emilia Clarke] was showing off her dewy complexion by going without make-up for the outing while also showing off a hint of her chocolate hued locks." [dailymail]
Why that isn't healthy or helpful: Emilia Clarke: "They were like: ‘What are you asking us this for? What do you mean do I think Daenerys is a good person? Why are you asking us that question? Why do you care what people think of Daenerys? Are you okay?’”" [EW]
One Year Later: Headline: "I'm still not over it.". [1]
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2020.09.17 19:07 FoPeFest FoPe Fest will be online soon. Arts, Traditions, Customs all in one place

FoPe Fest will be online soon. Arts, Traditions, Customs all in one place
FoPe Fest - International Festival of Folk and People Arts
(London, UK, September 17th) The first edition of FoPe Fest – International Festival of Folk and People Arts – will stream online on September 23rd, 24th and 25th 2020.
FoPe Fest aims to promote cultures, traditions and people customs through arts featuring a selection of works from 24 countries.
Sections include MUSIC & DANCE, LITERATURE, MOVIE and VISUAL ART.
The daily programme will start at 4pm (BST) for about 3 hour streaming divided into three parts and featuring works from all sections. Streaming will be accessible Worldwide and live on the FoPe Fest website: https://fopefest.eventscommunications.com
The schedule, the online catalogue and Author’s question forms will be available in the Festival website
On September 26th and 27th, the full programme will be available for on-demand viewing on FoPe Fest YouTube channel (https://www.youtube.com/FoPeFest) and website.
The Selection
3 days, 4 `sections and 42 works.
24 performances, 13 movies and 5 artworks.
MUSIC & DANCE (live music, live dance, music video)
Africa Stars Folklore and Dance Theatre from Ghana. The group was founded in 2018 yet has touched so many souls since then.
Ballet Folclórico Huitzilli Mitotiani from Mexico presenting a fragment of the biggest party for Oaxacans, the Guelaguetza, an annual indigenous cultural event.
Ballet Folclórico Municipal Rancagua from Chile, from the municipality of Rancagua and representing Rancagua and the sixth district Libertador Bernardo O’Higgings.
Ballet Folklorico Aztlan, based in Canada with the mission to create, present, preserve, and extend the great repertoire of Mexican Folklore dancing.
Ballet Internacional de Santa Cruz from Argentina, a federal project aiming to perfect and gather young dancers from different cities.
Batimbo Percussion Magique from Burundi, performing Burundian traditional dance usually played for Kings.
Castle In Time Orchestra from Israel performing an improvised orchestral concert
Diar Folk Music and Dance from Iran, directed by Arash Nadi, an Iranian coreographee, composer and musician.
Ensemble Artistique from Burkina Faso, performing traditional dance and music.
George & The Good Vibes from Israel performing a composition by Tomer George Cohen and portraying a mix of cultures, East and West, Middle Eastern rhythms with Western jazzy Afro Latin horns section.
I calanti from Italy performing the “pizzica” (pinch) or courtship dance showing love, eroticism and passion in a man courting a woman.
Niamh Finan and Meabh Kennedy from England adding something special to the song ˜Please, Please, Please, Let Me Get What I Want” by The Smiths.
Who Creations from Canada presenting King Arthur, a "dramatick opera" or semi-opera where the principal characters do not sing and are played by dancers.
LITERATURE (poetry, graphic novel, fiction)
Jasmin Stone from Israel presenting a music poetry video based on the poem "The children's tree" by Maya Bajerano
Svend-Erik Engh and Neil Sutcliffe from Scotland sharing a story inspired by the Viking’s arrival in Scotland.
MOVIE (short, documentary, feature)
“Avatara” by Nadav Harel (India – documentary – 2020). Set in the cultural frontier zone of the Hindu Himalaya, explores the lived religion of goddess worship (shaktism) in a remote pastoral valley.
“In search” of by Daniel Asadi Faezi and Sadam Badshah (Pakistan - short – 2017). It explores the reasons and consequences of the progressive disappearing of the Pashtun culture.
“Kalapa” by Sophie Stallegger (Austria – documentary – 2018). One day in the learning community Kalapa in Colombia, where the concept of a school is thought in a different way.
“Kub ban (A Long Way Home)” by Xaisongkham Induangchanthy (Laos – short – 2017). It tells about a Lao American young man bringing his father’s ashes to Laos to fulfil his last wish – to return home.
“Memories of Little Jerusalem in Sefrou” by Irena Paskali (Germany – documentary – 2020). It explores what’s left of the city’s once very lively Jewish culture and its quarters, the Mellah.
“Taming Winter. A story of Carnivals and Bears” by Andrea Arena (Italy – documentary – 2018). European winter is full of carnivals but if you leave the cities and go through the remotest valleys, in the small villages clung to the slope of the mountains, you can find celebrations that differ from the Carnival we all know.
“Tara's footprint” by Georgina Barreiro (Argentina – documentary – 2018). Through the eyes of young generation, it explores the ancestral tradition and the spirituality of the Bhutia people.
“The Church” by Andrey Gryazev (Russia – documentary – 2020). Believers are filmed during Orthodox Christian holidays, which repeat the earthly path of Christ - Christmas, Baptism, Resurrection, Transfiguration and Ascension.
“The King - Naat Veliov and the Romany music from the Balkans” by Michele Gurriere (France – documentary – 2019). King Naat Veliov, the king of the gypsy trumpet, is a composer from a famous kin of Balkan Roma musicians.
“The Open Door” by Jamyang Jamtsho Wangchuk (Bhutan/UK – short – 2018). It was an age-old custom in the Himalayan Kingdom of Bhutan to have the doors open, only closing it before bed.
“The Santiago Diaries” by Peter Klausz (Spain – documentary – 2010). Each year thousands of people walk the Camino de Santiago in Spain.
“To Raise a King” by Anthony Sileo (USA – short – 2017). Sometimes a parent’s destiny is to raise their child to fulfil theirs
“Wild Honey” by Ava Porter and Farhad Akhmetov (Russia/USA – documentary – 2019). A rapturous ethnographic look at traditional folk music, presents the ethnic communities of five regions across Russia
VISUAL ART (photography, painting, digital art)
“Fairy tales and legends” by Claudia Gruenig from Germany - photography
“Original hebrew calligraphy poems” by Ilanit Scharff Vigodsky from Israel - painting
"Marissa: the little fairy” and “Unicorn" by Morgan from USA – digital art and painting
“Fringe Deamon” by Melissanthi Spei from Greece – digital art
FoPe Fest is an independent production by events.com(munications) Ltd (www.eventscommunications.com).
Contacts
Instagram: www.instragram.com/fope_fest
Facebook: www.facebook.com/FoPeFestival
Twitter: www.twitter.com/fopefest
Email: [[email protected]](mailto:[email protected])
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2020.09.15 05:31 DesiAlexa RDT YouTube Playlist - September 15, 2020

No. Requested_by VIDEO OP's Remark
1 CaptainEffective Mornings Here None
2 Almost_Deflowered Le Chakk Main Aa Gya : Parmish Verma (Official Video) Desi Crew - Super Hit Song - Juke Dock None
3 CaptainEffective Sadma Ashiq Rap Song - Aashik Hu Mai Dil Ka - Full Lyrcial Video - Full Song With Lyrics None
4 MyDesign123 Beete lamhe - The Train (2007) HD♥ None
5 heaven_on_my_mind Kun Faya Kun Full Video Song Rockstar - Ranbir Kapoor - A.R. Rahman, Javed Ali, Mohit Chauhan None
6 NagarFromBuntyPrem LIFAFA लिफाफा - Ek Nagma एक नगमा None
7 6abhi6jeet6 Scribe - I Love You, Pav Bhaji None
8 6abhi6jeet6 The Local Train - Dilnawaz (Official) None
9 The-Soldier-in-White Tu Mile Dil Khile - Telusa Manasa - Akkineni Nagarjuna - Anoop Sankar - Ramu Raj - Full Version None
10 6abhi6jeet6 Prateek Kuhad - Tune Kaha - Official Audio None
11 6abhi6jeet6 Despacito - Luis Fonsi (ft. Daddy Yankee) - Marlon Alves Dance MAs None
12 mylifeisntamovie Hello - Lionel Richie - HQ/HD None
13 cocacolatuu Vancouver Sleep Clinic - Flaws (Official Audio) None
14 burnh12 Chori Chori Dil Le Gaya Full Video Song : Garam Masala - Akshay Kumar, John Abraham - None
15 mylifeisntamovie Chori Pe Chori - Full Song - Saathiya - Vivek - Rani - Shamita - Asha Bhosle - Karthik None
16 wannaboolwithme Clean Bandit - Rockabye (feat. Sean Paul & Anne-Marie) [Official Video] None
17 Almost_Deflowered Diljit Dosanjh - Smile - Full Official Video Song - Punjabi Song - T-Series None
18 Almost_Deflowered Peele Peele O Morey Raja (HD) - Tirangaa (1993) - Raaj Kumar- Nana Patekar- Mohd.Aziz- Sudesh Bhosle None
19 aaluinsonaout Lag Jaa Gale - Sadhana, Lata Mangeshkar, Woh Kaun Thi Romantic Song good bot
20 kawaiiiiiiijay Earth, Wind & Fire - Let's Groove (Official Video) None
21 burnh12 Mai Teri chunariya Arijit Singh song 2017 None
22 Devi-Prasad-Mishra Maa (Song) - Taare Zameen Par - Shankar Mahadevan None
23 jinnemeradilluteya Paree Hoon Main (Suneeta Rao) None
24 burnh12 Chai chai - Punit Singh None
25 GumnaamFlautist A.R Rahman Maahi Ve Full Song (Audio) Highway - Alia Bhatt, Randeep Hooda - Imtiaz Ali None
26 -Newt-Scamander- OneRepublic - Good Life (Official Music Video) None
27 jinnemeradilluteya Aaj Kal Zindagi Full Video - Wake Up Sid-Ranbir Kapoor, Konkona Sen-Shankar Mahadevan None
28 6abhi6jeet6 Crazy Fool None
29 cocacolatuu Feeling Proud Indian Army - Sumit Goswami - Parmish Verma - New Haryanvi Songs Haryanavi 2019 None
30 Almost_Deflowered Ye Jo Halka Halka Original Song by Nusrat Fateh Ali Khan - Full Song with Lyrics None
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2020.09.15 04:00 spacegiraffe_18 Song of the Week! #1: Read My Mind

Hello everyone! Unsurprisingly, Read My Mind was voted by the community for our first song of the week post! I know I chose popular songs to vote from, but I figured it would be a good way to start out and then go from there. Next week, I will choose the song. I won't be doing polls very often, if at all, maybe just to get opinions on things, but I honestly think, and a few others agree, polls can be a bit much. Plus, a discussion is more encouraged and I think it gives an opportunity to explain yourself too. This post will have a bit of an explanation on how I sort of what to format this, but again please share any suggestions, like if it's too long or short. Also, I forget that people are in different time zones so apologies if you're not seeing this on Monday. I probably won't start each one with an unnecessary paragraph, so thanks for bearing with me!
Song: Read My Mind Album: Sam's Town Released: Feb 13, 2007
It charted 62 in the US and 15 in the UK. It was released as the third single for Sam’s Town.
Fun Fact: This was originally a totally different song titled "Little Angela" with a rock beat and lyrics telling a small love story.
At the time, Brandon said it was one of the best songs he had ever written. As of 2017, it is Brandon’s favorite song. "It doesn't matter if we're in a bar or an arena or a stadium or a festival or to 50 people, when 'Read My Mind' starts, the room changes."
Music Video: It was shot in Tokyo, Japan in various parts. The character in the video with the green suit is named Gachapin and is a popular television character. There are some cool details I like in the video, like the Sam's Town sign, the ram's horns bicycle handles, and also at one point while riding the bikes Brandon tries to give Ronnie a kiss on the cheek that I thought was funny. Currently, it has 104 million views. https://www.youtube.com/watch?v=zc8hbSM1zVo
My Interpretation: (side note, this is just something fun for me to do. I'm not the best at analyzing things, but I figured I'd give my take on it, and leave a comment if you have a different one. I'm not saying mine is correct in any way, and definitely could be wrong.) Alright, so the way I look at it, it's a relationship that's heading south. The boy still likes her, but he wants to move, "I never really gave up on breakin' out of this two-star town," someplace bigger and a place for a better future. The girl, however, feels like the boy is letting his dreams get the best of him and he's too caught up in that. The boy understands that "You say you wanna move on, and you say I'm falling behind," but still wants to see if he can hold onto her. He's finding a hard time gathering the words to tell her how he feels about the whole situation and it would be much easier if she just knew what he was trying to say, or read his mind. He remembers the good times with her and doesn't want to let go quite yet. He wants to still respect her decisions and goals and is possibly willing to change for her, "cause I don't shine if you don't shine," or he's ok with the fact that they have different paths. I think "magic soak soaking my spine" means when he goes to see her, he still feels the same feeling for her as he did in the beginning. He's facing a lot of obstacles with this decision because he still feels the nostalgia of the times they had. Towards the end, he is just desperate, "woman, open the door, don't let it sting," possibly she didn't take it all too well the first time he tried talking to her and just wants to plead with her one last time. Eventually, she listens. The song isn't happy nor sad, but it does leave a possible hopeful future for the two. We don't know what will happen but leaves an interpretation to the listener. (Sorry I know that was long, and most interpretations go along these lines, but I wanted to put it in my words.)
Final Thoughts: This is definitely one of The Killer's greatest songs, and I think most fans agree. Every time it comes on, I feel an appreciation for it and it's always a good time. I also love concerts when they place Runaways and it goes into Read My Mind, it just feels magical. Hopefully one day I can experience that in person. I've included a link for those that want that concert experience and haven't heard it from Banaroo 2018. https://www.youtube.com/watch?v=WIRio83MnWw
Please let me know your thought on the song and the post! Again, I know most people's thoughts are already out there since there's a lot of posts on this, but go ahead! Am I missing anything or do I have too much?
Go stream the song pretty much everywhere and give it some love today! Thanks all have a great week!
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