writing is a socially accepted form of schizophrenia
Saturday, February 20, 2010
This might honestly, be the best article I've read to date.
http://www.autostraddle.com/why-taylor-swift-offends-little-monsters-feminists-and-weirdos-31525/
In case you haven't heard, the nauseatingly bland Taylor Swift won the the Grammy for Album of the Year at last week's Grammys, beating out people like Beyonce and Gaga. No seriously, it's not as if it's enough that The Powers To Be reward her absolute joke of a video at the VMAs (Kanye you were so right), they had to give her the award, normally reserved for people who actually had talent and could sing, to her, INSTEAD OF TO THE FAME MONSTER.
I know nobody except for me has the patience to read an article explaining exactly why Taylor Swift is the most annoying bitch in the music industry right now, so let me highlight some of a few choice quotes (I may end up quoting the whole damn thing, but whatever)
"I’ve already shared some of my qualms with you: that I feel her win represents a sinister endorsement of mediocrity/Wonderbread, that it means Digestible beat Daring and I prefer daring, that I’m irked by her consistent inability to recognize more deserving nominees in her acceptance speeches, and that her entitlement to a blatantly untrue ‘fairy tale’ narrative tastes disingenuous and cheap.""
"The rush to exalt Swift is (I believe) a desperate attempt to infuse our allegedly apocalypse-bound country with a palatable conservative ideology in the form of a complacent, repressed feminine ideal. It’s working ’cause Swift writes good songs and America is terrified that its children have been scarred by Britney Spears’s psychotic vagina and Miley Cyrus’s obnoxious adolescence.
Rather than choosing an established/evolved talent (Beyoncé) or a revolutionary (Lady Gaga), the Grammys chose someone who, according to her lyrics, has spent her entire life waiting for phone calls and dreaming about horses and sunsets."
"Listen up; if I ever get my life together enough to reproduce other life forms, they will not be joining Taylor Nation – they will be brave, creative, inventive, envelope-pushing little monsters who will find a pretty, skinny white blonde girl in a white peasant shirt strolling through nature-themed screensaver-esque fantasylands singing about how “when you’re fifteen and somebody tells you they love you, you’re gonna believe them” not only sappy, but also insulting to their inevitable brilliance.
I don’t want my unborn grandchildren to listen to the story of how Taylor Swift won a Grammy she hadn’t earned. I want them to set pianos on fire."
"Why does Swift seem, at 20, a decade younger than Lady Gaga? ‘Cause Swift’s package is “Purity Sue Ingenue”: eternally childlike, obedient and one-dimensional. Mothers love this package, and teenage girls are hypnotized by her simple songs & pretty hair & propensity for crying on her instruments.
Listen up! When Beyoncè was Swift’s age, she was onstage with Destiny’s Child, proclaiming: “The house I live in / I’ve bought it / The car I’m driving / I’ve bought it / All the women who are independent / Throw your hands up at me!”"
"Never was this bunnyrabbitchild persona more exploited than it was after the VMAs. If Kanye had snatched that mike from Lady Gaga, she would’ve snatched it right back, called Kanye an asshole (he is), admitted he was right (he was), and the whole thing would’ve been done and DONE. She certainly wouldn’t have needed — or wanted- the entire country’s fawning faux-sympathy for months afterward.
Taylor had another chance at the VMA’s end to prove her maturity by thanking and honoring Beyoncé for calling her back up to speak. But no, she was just like, “A’ight my turn!”
Role models aren’t suspended children, trapped by projections and unable to grow until affirmed by an idealized male partner. Role models grow and change and challenge themselves and are rewarded for exceptionalism, not potential. Independently."
"Swift’s songwriting is as thematically ambitious as a 15-year-old’s LiveJournal, which is to say, like a 15-year-old’s LiveJournal, it never strives for thematic weight or challenges ideas not already covered by Sweet Valley High or The Children’s Illustrated Bible.
If Swift’s work connects with teenage girls, it does so on the most simplistic, reductive territory of all: pining for boys, walking in the rain, kissing in the rain, crying drops of tears on her guitar, driving in trucks with cool boys, wanting boys she can’t have, more rain, more letter-writing, more stalking, more broken hearts, breathing problems as a side-effect of broken hearts, fairytale princess this, white horse that, more pining at the window, more psuedo-stalking, more incomplete hearts yearning for your touch, and one song that misinterprets Shakespeare and The Scarlet Letter so criminally I’m certain she’s never read either.
Swift simply hasn’t had the life experience and doesn’t inherently possess the emotional maturity to create great art. Which is fine — most young pop stars don’t, which is why they don’t win Grammys.
We’ve decided to break this down for you with a special Autostraddle infographic:
"Perhaps the only legitimately irritating aspect of Taylor the Human is her continually presenting the experience of being teased in middle school for liking country music as a legit tragic impetus. Taylor Fucking Swift! Put on a Rachel Berry smile and get yer sh*t together, we were all bullied in middle school!
Even when Swift’s songs cast her as the outcast, the freakiest she can get is putting on a pair of glasses and a t-shirt which has apparently been signed by all of her non-existent friends.
Taylor, look at Lady Gaga in that bathtub and tell me that you’re the one in the bleachers:
And I'm just going to quote the entire next paragraph because of its sheer brilliance
Furthermore, Swift’s lyrical message to teenage girls is clear: BOYS. That’s it. Just boys. Crying over boys and feeling broken and/or completed by boys.
In fact, Swift loves boys at the exclusion of just about everything else, including other girls. Other girls are obstacles; undeserving enemies who steal Taylor’s soulmates with their bewitching good looks and sexual availability. Unfortunately for these mute yet effortlessly hunky jungle-eyed boys, by choosing the “beautiful” girls over Taylor (who is, suspiciously… also beautiful…), they’re missing out on Taylor’s unique understanding of their heart/inner fireball/angelic rainshower/sweet glory of Jesus. “All those other girls are beautiful,” Taylor pines, “But would they write a song for you?”
This is perhaps her music’s most grating sin: the sex-shaming girl-bashing passed off as outsider insecurity. Boys are angels lit from within with cool hair, fast cars, and eyes that often resemble light sources (stars, sunbeams, etc). These boys never grow beyond metaphor into humanity. If they did, we might have to confront the very idea that Taylor Swift’s entire career is designed to destroy: that teenagers want to have sex. And that wanting is confusing.
Certainly, she’s among a handful of teenage pop stars who truly practices what she preaches. Taylor’s behavior & imagery is just as wholesome as the apple pie her fans dream of baking for their own Jonas Brother-esque boyfriend. She doesn’t peddle paradoxical mixed messages about sex like the previous generation of teenaged pop stars.
I mean, she’s pretty clear in “Fifteen” — really the only song where Taylor has an actual female friend — that “Abigail gave everything she had to a boy, who changed his mind, and we both cried.”
I’ll spare you the time of listening to the song and give it to you straight: Abigail had sex with a boy, and later they broke up. That’s right. No marriage. She gave him all she had.
That’s right. All Abigail had was her hymen.
Songs like “Fifteen” dig up the ancient Puritan ideal that girls can only access power by confidently and heterosexually denying access to their pants.
But there’s power in owning desire too, and even more power in owning that responsibly (especially when you’re young). At her age, my friends and I were having safe sex, listening to Ani DiFranco & Destiny’s Child & Lauryn Hill & The Magnetic Fields & George Michael and um *cough* Britney Spears and so far it seems none of us lost “all we had.”
See, teenagers do think about sex and that’s part of what makes adolescence so fucking wretched but also hopelessly authentic. Revisiting that paradox as an adult can make great art. It’s not about slut shaming, exalting resistance, extending childhood or demonizing desire — it’s about powerfully wanting things that are REAL.
[ETA: I'm not saying all teenagers should have sex, or that being sexually active is better for kids than abstinence. That's ridiculous. I'm just saying the wanting is real. Acting on the wanting is a whole different story -- but Taylor is promoting denial of both, whereas I suggest if there is any denial at all, it should be in your actions, not in your desires.]
And I think that mature female-empowered desire has never been so present in pop music as it is right now, and many of those women were there on Sunday. [Sidenote: I could write a whole new essay about what Adam Lambert is bringing to the table right now for male sexuality, but I already have/this is already too long.]
The ironic thing is, I think pop music is past the stuff Taylor Swift is a reaction to. We’re not really being subjected to the hypocritical virgin/madonna antics of Britney Spears, Lindsay Lohan, Christina Aguilera, Jessica Simpson, Paris Hilton, Mandy Moore, and their ilk peddling Lolita-Sex for sex’s sake but disguised in pastels.
Instead, awards shows this year featured gifted, evolving performers like Pink, Lady Gaga, Beyoncé, Rihanna and Janet Jackson; women who are more than hymens or fairy tales. Women for whom sex isn’t something you just throw into the crowd like candy — it’s something strong and eternal and tenacious and really quite inspiring.
Let’s bring it back around to the lady that obvs should’ve won: Lady Fucking Gaga. Lady Gaga is viscous hungry sex in hellfire. She’s more theatrical than Broadway and every night she sings in romantic open fists. Lady Gaga opens her dress, extracts her gut, assembles it in shapes splashed in sinister glitter and then shatters her dangerous violent diamonds onto the piano and screams FIRE and it sounds like bad romance. She wants your ugly, she wants your disease, and she’s everything Taylor Swift will never be. Punks don’t win awards, they eat awards.
And so that’s what I hope for my hypothetical unborn children, whether it’s from Gaga or another powerhouse female who owns it on stage: pop music that shuns tired Dawson Leary cliché in favor of your drama, disease, love, revenge, and (when you’re ready) your dangerous ambisexual kiss in the motherfucking sand.
Rah-rah-ah-ah-ah,
Roma-roma-mah,
GaGa-ooh-la-la.
A-FUCKING-MEN.
You guys know my hatred for all things bland in music, key people being Taylor Swift and Kris Allen (and might I just add, a terribly appropriate comparision. Taylor Swift winning the Grammy over Lady Gaga. Kris-ifhegetsanymoreboringImightkillmyself-Allen winning over Adam Lambert on American Idol. Need I say more?).
But yes, it goes beyond just bad music. I'm legitimately terrified of what seems to be a growing trend in the US music industry. The NEVERENDING influx of Christian rock bands, generic singer songwriters, cookie-mold pretty girls with their guitars etc etc I could go on forever.
These people not only look the same, they sound the same. It's the same genre of song, same beat, same hook, same lyrics, same mediocre singer. And as liberal as America may seem, it remains one of the most notoriously close-minded and difficult music markets to break into. Yes, that America=World mindset that many stupid Americans seem to have applies here as well. Bet you didn't know that Lady Gaga actually made it big in Europe and Asia before breaking into the US market! That took only, oh, two years. Muse never really managed to break into the US market even though they were huge in UK for years. Taylor-FUCKING-Swift won 4 Grammys in the span of one year. If there's some logic in the past few sentences, somebody please point it out.
http://www.autostraddle.com/why-taylor-swift-offends-little-monsters-feminists-and-weirdos-31525/
In case you haven't heard, the nauseatingly bland Taylor Swift won the the Grammy for Album of the Year at last week's Grammys, beating out people like Beyonce and Gaga. No seriously, it's not as if it's enough that The Powers To Be reward her absolute joke of a video at the VMAs (Kanye you were so right), they had to give her the award, normally reserved for people who actually had talent and could sing, to her, INSTEAD OF TO THE FAME MONSTER.
I know nobody except for me has the patience to read an article explaining exactly why Taylor Swift is the most annoying bitch in the music industry right now, so let me highlight some of a few choice quotes (I may end up quoting the whole damn thing, but whatever)
"I’ve already shared some of my qualms with you: that I feel her win represents a sinister endorsement of mediocrity/Wonderbread, that it means Digestible beat Daring and I prefer daring, that I’m irked by her consistent inability to recognize more deserving nominees in her acceptance speeches, and that her entitlement to a blatantly untrue ‘fairy tale’ narrative tastes disingenuous and cheap.""
"The rush to exalt Swift is (I believe) a desperate attempt to infuse our allegedly apocalypse-bound country with a palatable conservative ideology in the form of a complacent, repressed feminine ideal. It’s working ’cause Swift writes good songs and America is terrified that its children have been scarred by Britney Spears’s psychotic vagina and Miley Cyrus’s obnoxious adolescence.
Rather than choosing an established/evolved talent (Beyoncé) or a revolutionary (Lady Gaga), the Grammys chose someone who, according to her lyrics, has spent her entire life waiting for phone calls and dreaming about horses and sunsets."
"Listen up; if I ever get my life together enough to reproduce other life forms, they will not be joining Taylor Nation – they will be brave, creative, inventive, envelope-pushing little monsters who will find a pretty, skinny white blonde girl in a white peasant shirt strolling through nature-themed screensaver-esque fantasylands singing about how “when you’re fifteen and somebody tells you they love you, you’re gonna believe them” not only sappy, but also insulting to their inevitable brilliance.
I don’t want my unborn grandchildren to listen to the story of how Taylor Swift won a Grammy she hadn’t earned. I want them to set pianos on fire."
"Why does Swift seem, at 20, a decade younger than Lady Gaga? ‘Cause Swift’s package is “Purity Sue Ingenue”: eternally childlike, obedient and one-dimensional. Mothers love this package, and teenage girls are hypnotized by her simple songs & pretty hair & propensity for crying on her instruments.
Listen up! When Beyoncè was Swift’s age, she was onstage with Destiny’s Child, proclaiming: “The house I live in / I’ve bought it / The car I’m driving / I’ve bought it / All the women who are independent / Throw your hands up at me!”"
"Never was this bunnyrabbitchild persona more exploited than it was after the VMAs. If Kanye had snatched that mike from Lady Gaga, she would’ve snatched it right back, called Kanye an asshole (he is), admitted he was right (he was), and the whole thing would’ve been done and DONE. She certainly wouldn’t have needed — or wanted- the entire country’s fawning faux-sympathy for months afterward.
Taylor had another chance at the VMA’s end to prove her maturity by thanking and honoring Beyoncé for calling her back up to speak. But no, she was just like, “A’ight my turn!”
Role models aren’t suspended children, trapped by projections and unable to grow until affirmed by an idealized male partner. Role models grow and change and challenge themselves and are rewarded for exceptionalism, not potential. Independently."
"Swift’s songwriting is as thematically ambitious as a 15-year-old’s LiveJournal, which is to say, like a 15-year-old’s LiveJournal, it never strives for thematic weight or challenges ideas not already covered by Sweet Valley High or The Children’s Illustrated Bible.
If Swift’s work connects with teenage girls, it does so on the most simplistic, reductive territory of all: pining for boys, walking in the rain, kissing in the rain, crying drops of tears on her guitar, driving in trucks with cool boys, wanting boys she can’t have, more rain, more letter-writing, more stalking, more broken hearts, breathing problems as a side-effect of broken hearts, fairytale princess this, white horse that, more pining at the window, more psuedo-stalking, more incomplete hearts yearning for your touch, and one song that misinterprets Shakespeare and The Scarlet Letter so criminally I’m certain she’s never read either.
Swift simply hasn’t had the life experience and doesn’t inherently possess the emotional maturity to create great art. Which is fine — most young pop stars don’t, which is why they don’t win Grammys.
We’ve decided to break this down for you with a special Autostraddle infographic:
"Perhaps the only legitimately irritating aspect of Taylor the Human is her continually presenting the experience of being teased in middle school for liking country music as a legit tragic impetus. Taylor Fucking Swift! Put on a Rachel Berry smile and get yer sh*t together, we were all bullied in middle school!
Even when Swift’s songs cast her as the outcast, the freakiest she can get is putting on a pair of glasses and a t-shirt which has apparently been signed by all of her non-existent friends.
Taylor, look at Lady Gaga in that bathtub and tell me that you’re the one in the bleachers:
And I'm just going to quote the entire next paragraph because of its sheer brilliance
Furthermore, Swift’s lyrical message to teenage girls is clear: BOYS. That’s it. Just boys. Crying over boys and feeling broken and/or completed by boys.
In fact, Swift loves boys at the exclusion of just about everything else, including other girls. Other girls are obstacles; undeserving enemies who steal Taylor’s soulmates with their bewitching good looks and sexual availability. Unfortunately for these mute yet effortlessly hunky jungle-eyed boys, by choosing the “beautiful” girls over Taylor (who is, suspiciously… also beautiful…), they’re missing out on Taylor’s unique understanding of their heart/inner fireball/angelic rainshower/sweet glory of Jesus. “All those other girls are beautiful,” Taylor pines, “But would they write a song for you?”
This is perhaps her music’s most grating sin: the sex-shaming girl-bashing passed off as outsider insecurity. Boys are angels lit from within with cool hair, fast cars, and eyes that often resemble light sources (stars, sunbeams, etc). These boys never grow beyond metaphor into humanity. If they did, we might have to confront the very idea that Taylor Swift’s entire career is designed to destroy: that teenagers want to have sex. And that wanting is confusing.
Certainly, she’s among a handful of teenage pop stars who truly practices what she preaches. Taylor’s behavior & imagery is just as wholesome as the apple pie her fans dream of baking for their own Jonas Brother-esque boyfriend. She doesn’t peddle paradoxical mixed messages about sex like the previous generation of teenaged pop stars.
I mean, she’s pretty clear in “Fifteen” — really the only song where Taylor has an actual female friend — that “Abigail gave everything she had to a boy, who changed his mind, and we both cried.”
I’ll spare you the time of listening to the song and give it to you straight: Abigail had sex with a boy, and later they broke up. That’s right. No marriage. She gave him all she had.
That’s right. All Abigail had was her hymen.
Songs like “Fifteen” dig up the ancient Puritan ideal that girls can only access power by confidently and heterosexually denying access to their pants.
But there’s power in owning desire too, and even more power in owning that responsibly (especially when you’re young). At her age, my friends and I were having safe sex, listening to Ani DiFranco & Destiny’s Child & Lauryn Hill & The Magnetic Fields & George Michael and um *cough* Britney Spears and so far it seems none of us lost “all we had.”
See, teenagers do think about sex and that’s part of what makes adolescence so fucking wretched but also hopelessly authentic. Revisiting that paradox as an adult can make great art. It’s not about slut shaming, exalting resistance, extending childhood or demonizing desire — it’s about powerfully wanting things that are REAL.
[ETA: I'm not saying all teenagers should have sex, or that being sexually active is better for kids than abstinence. That's ridiculous. I'm just saying the wanting is real. Acting on the wanting is a whole different story -- but Taylor is promoting denial of both, whereas I suggest if there is any denial at all, it should be in your actions, not in your desires.]
And I think that mature female-empowered desire has never been so present in pop music as it is right now, and many of those women were there on Sunday. [Sidenote: I could write a whole new essay about what Adam Lambert is bringing to the table right now for male sexuality, but I already have/this is already too long.]
The ironic thing is, I think pop music is past the stuff Taylor Swift is a reaction to. We’re not really being subjected to the hypocritical virgin/madonna antics of Britney Spears, Lindsay Lohan, Christina Aguilera, Jessica Simpson, Paris Hilton, Mandy Moore, and their ilk peddling Lolita-Sex for sex’s sake but disguised in pastels.
Instead, awards shows this year featured gifted, evolving performers like Pink, Lady Gaga, Beyoncé, Rihanna and Janet Jackson; women who are more than hymens or fairy tales. Women for whom sex isn’t something you just throw into the crowd like candy — it’s something strong and eternal and tenacious and really quite inspiring.
Let’s bring it back around to the lady that obvs should’ve won: Lady Fucking Gaga. Lady Gaga is viscous hungry sex in hellfire. She’s more theatrical than Broadway and every night she sings in romantic open fists. Lady Gaga opens her dress, extracts her gut, assembles it in shapes splashed in sinister glitter and then shatters her dangerous violent diamonds onto the piano and screams FIRE and it sounds like bad romance. She wants your ugly, she wants your disease, and she’s everything Taylor Swift will never be. Punks don’t win awards, they eat awards.
And so that’s what I hope for my hypothetical unborn children, whether it’s from Gaga or another powerhouse female who owns it on stage: pop music that shuns tired Dawson Leary cliché in favor of your drama, disease, love, revenge, and (when you’re ready) your dangerous ambisexual kiss in the motherfucking sand.
Rah-rah-ah-ah-ah,
Roma-roma-mah,
GaGa-ooh-la-la.
A-FUCKING-MEN.
You guys know my hatred for all things bland in music, key people being Taylor Swift and Kris Allen (and might I just add, a terribly appropriate comparision. Taylor Swift winning the Grammy over Lady Gaga. Kris-ifhegetsanymoreboringImightkillmyself-Allen winning over Adam Lambert on American Idol. Need I say more?).
But yes, it goes beyond just bad music. I'm legitimately terrified of what seems to be a growing trend in the US music industry. The NEVERENDING influx of Christian rock bands, generic singer songwriters, cookie-mold pretty girls with their guitars etc etc I could go on forever.
These people not only look the same, they sound the same. It's the same genre of song, same beat, same hook, same lyrics, same mediocre singer. And as liberal as America may seem, it remains one of the most notoriously close-minded and difficult music markets to break into. Yes, that America=World mindset that many stupid Americans seem to have applies here as well. Bet you didn't know that Lady Gaga actually made it big in Europe and Asia before breaking into the US market! That took only, oh, two years. Muse never really managed to break into the US market even though they were huge in UK for years. Taylor-FUCKING-Swift won 4 Grammys in the span of one year. If there's some logic in the past few sentences, somebody please point it out.
There is almost a deliberate refusal to acknowledge the presence of anything different, flamboyant, and out of the box in the music industry. The American public, together with The Powers To Be in the music industry, seem to be terrified of anyone that just won't fit into the boxes they've created for their ideal artiste. The "All American" artiste.
That is why people like Taylor Swift and Kris Allen win things. Not because they're truly talented, but because they embody the true, good ol' American traditional values. They are safe, conventional, and un-threatening, and they're rewarded for being all that. Never mind talent, reward the ones who embody the true American spirit!Most ironically, this is also why people like Lady Gaga and Adam Lambert are vastly more popular. For every god-fearing, The Fray-worshipping puritan, there's ten more who see past the holier-than-thou facades for what these so-called musicians really are - subpar singers who are nothing but product of an industry fearful of rewarding the brave and the different. This is why The Fame Monster has sold over 8 million copies around the world, compared Fearless' 4 million (yes I googled that shit. My brain feels violated). That is also why For Your Entertainment has gone gold in the US, Canada and several other countries I don't know I can't keep track (haha) while Kris Allen (yes, that's the title of his album. GOT MORE FUCKING BORING NOT I ASK YOU) so far, in 3 months, has sold the same number of copies as what FYE sold in its opening three weeks. LOL sorry, I can't make this sort of thing up.
A sign of an evolving music industry perhaps? I don't know for sure. But with Lady Gaga paving the way, and her and Adam smashing expectations and gender boundaries left right and centre, I am hopeful for greater, and weirder things to come. CAMP IT UP, MY DAHLINGS.
I don't need stupid songs bemoaning about cheerleaders wearing short skirts while you wear t-shirts, bitch. I'd much rather have my singer telling me that he's the master of pain and pleasure and that he's going to entertain me till I scream, thank you very much. LONG LIVE THE TALENTED AND THE WEIRD. 
sorry that came out way longer than expected. Months of pent up rage, I tell ya.
Labels: adam lambert is a god... uh i mean what?, random rants
posted by mian at 1:47 AM | Permalink |
Thursday, February 18, 2010
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAH!!
and also because I haven't fangirled in like.. many days.
and also because I haven't fangirled in like.. many days.
Labels: adam lambert is a god... uh i mean what?, pointless post is pointless
posted by mian at 6:51 PM | Permalink |
Monday, February 08, 2010
There are certain groups of people that I know whose company I can say I truly, truly enjoy. Let's be clear: I enjoy the company of ALL my friends. But, there are few people whom I am completely comfortable with and can totally be myself. And when I say be myself, I mean the no holds barred version. With these people, I can do and say whatever I feel like, and there's no judging.
Sometimes I honestly can't put into words how thankful I am for the presence of these people. You guys know, or actually may not know (who knows! ;)), who you are. But anyway THANK YOU. ♥
Did you have a epic weekend? I know I did :D
Okay now that I've got the touchy feely shit out of the way, I'd be back to rage about Taylor Swift tomorrow.
Sometimes I honestly can't put into words how thankful I am for the presence of these people. You guys know, or actually may not know (who knows! ;)), who you are. But anyway THANK YOU. ♥
Did you have a epic weekend? I know I did :D
Okay now that I've got the touchy feely shit out of the way, I'd be back to rage about Taylor Swift tomorrow.
posted by mian at 8:19 PM | Permalink |
Sunday, February 07, 2010
THAT WAS SO MUCH FUN OMGAWDDDDDDDDDDDDDDDDDDDDDD
I COULD GET USED TO LIFE LIKE THIS
I COULD GET USED TO LIFE LIKE THIS
posted by mian at 5:33 AM | Permalink |
Thursday, February 04, 2010
And OF COURSE Muse played KOC at last night's concert. Why do I even doubt the universe's penchant for playing cosmic jokes on me anymore?
Well at least I got to hear it live via phone thanks to my very kind friend whowas gloating was livestreaming it on her phone during the song. SO GODDAMN AMAZING OMGAWWWWWWWWWWWWD.
Next time I'm just going to shell out the money, obscure opening acts and everything.
Seriously, this song has my favourite lyrics EVER.
Come ride with me, through the veins of history
I'll show you that God, falls asleep on the job
And how can we win, when fools can be kings
Don't waste your time, or time will waste you
NO ONE'S GONNA TAKE ME ALIIIIIIIIIIIIIIIIIVE
TIME HAS COME TO MAKE THINGS RIIIIIIIIIIIIIIIIIIGHT
YOU AND I MUST FIGHT FOR OUR RIIIIIIIIIIIGHTS
YOU AND I MUST FIGHT TO SURVIVEEEEEEEEEEEEEEEEE
Well at least I got to hear it live via phone thanks to my very kind friend who
Next time I'm just going to shell out the money, obscure opening acts and everything.
Seriously, this song has my favourite lyrics EVER.
Come ride with me, through the veins of history
I'll show you that God, falls asleep on the job
And how can we win, when fools can be kings
Don't waste your time, or time will waste you
NO ONE'S GONNA TAKE ME ALIIIIIIIIIIIIIIIIIVE
TIME HAS COME TO MAKE THINGS RIIIIIIIIIIIIIIIIIIGHT
YOU AND I MUST FIGHT FOR OUR RIIIIIIIIIIIGHTS
YOU AND I MUST FIGHT TO SURVIVEEEEEEEEEEEEEEEEE
posted by mian at 7:43 AM | Permalink |
Tuesday, February 02, 2010
If this song happens at the Muse headlining concert tomorrow I'm going to regret forever not forking over 168 bucks for the tickets.
posted by mian at 8:34 PM | Permalink |