“When I read the breakdown, the character of Nikki, she was described as this brilliant George Washington grad that rips up a Harvard Law scholarship to go and try to be the newest hip-hop manager in New York City. The balls of that — excuse my language — is really what appealed to me. To me, she was like the coolest feminine anti-hero. I liked that, and I liked that all of these characters were kind of like that. They had this attitude we would’ve needed to start the birth of hip hop, which is what these characters kind of did in this fictitious world.” - Afton Williamson on character in the VH1 film “The Breaks”

My 30 Favorite Albums of 2010-2014

Internet social media changed conversations about everyday life, trends came and went as always, new sounds have stuck for better and for worse, and the music scene has shattered the stereotype that you need to suck up to any label anymore to get people to like you. The 2010’s has been one incredible decade for music, like it or not. The past 5 years have blessed us with glorious genre defining classics and fuckery to last us a lifetime. I initially wanted to only put 20 but these records are so great that I had to expand the list to include them all! Strap yourselves in for the biggest list that I’ve EVER done on this site.

30. Passion Pit — Gossamer

Warm, exhilarating, and much more refined than their previous effort, Michael Angelakos’ vocals soar and float over well with the bright production on songs like “Take a Walk” and the songwriting feels more humane and developed than ever before. Angelakos could make a song about alcoholism and abuse sound like the most inviting and twisted thing in the world in their universe (“Constant Conversations”) and the soulful feel of the album brings consistency that carries it through from start to finish.

29. Blu & Exile — Give Me My Flowers While I Can Still Smell Them

It’s clear that MC Blu shines best with producer Exile, and many didn’t think their stellar debut could be topped, much less even followed up. After the ATROCIOUS sounding unmixed version of the album hit the internet, the properly mixed and mastered version of the record showed a more mature sound to their chemistry that had never been shown before. While “Below the Heavens” will be this duos opus, with songs like “Maybe One Day”, “Good Morning Neighbor”, “Seasons”, and “Ease Your Mind” show this album can stand on its own without question.

28. Bon Iver — Bon Iver, Bon Iver

While some will criticize this album for bringing so many different sounds to the point of the group being unrecognizable from their debut, the added flavor of strings and horns bring this group to life like never before. From the moment you hear the tender “Holocene” you feel the rebirth of indie rock in a modern era and “Towers” shows they’ve transformed into a quiet monster that the world is STILL highly anticipating a followup release from ever since.

27. Daft Punk — Random Access Memories

I think it’s more appropriated to call this legendary duo Frankenstein the way they’ve revived disco with RAM. Rich, authentic, groovy, and in a class of its own, “Get Lucky”, “Lose Yourself to Dance”, and “Give Life Back to Music”, will have you dance the night away for decades to come. Daft Punk are the most timeless electronic musicians ever alongside Giorgio Moroder (whom is paid homage to with “Giorgio by Moroder), and them being able to bring back a sound that has long been forgotten without sacrificing to any trend is a remarkable feat in itself. Oh and that whole Album of the Year Grammy they got for this album was cool too.

26. D’Angelo – Black Messiah

Biased fanboy I am, but I’ll be damned if the impact of this album isn’t felt already. After personal complications and false starts for nearly 15 years, D’Angelo returns out of nowhere with an album that every bit as soulful, profound and exhilarating asVoodoo and Brown Sugar.Blending more genres than ever before, D'Angelo brings his neo-soul vibes (“Sugah Daddy”), gospel (“Prayer”), blues (“Another Life”) funk (“Ain’t That Easy”) to express his thoughts on religion, politics (“1000 Deaths), morality, love, sexuality, and even his own life (“Back to the Future I & II”) through the course of the 12 track masterpiece. An album that can speak to many, D'Angelo sure took his sweet ass time to show he can bring something fresh to the ears of the listen without having to conform to anyone.

25. Freddie Gibbs & Madlib – Piñata

A collaboration that NO ONE saw coming ends up being one of the most exciting rap has seen in years. The Beat Konducta brings some of his best beats to Freddie Gibbs on top of his game. Recorded for over 3 years, tracks like “Thuggin”, “Shame”, and “Real” feel like the blaxploitation era on wax, and only made stronger now by how diverse a rapper Gibbs is. Madlib’s beat have as much character as Gibbs’ rapping, from the elegant “Robes” to the painful “Broken”, the knocking diss track “Real” and posse cut “Pinata”, these two never cease to impress track for track on this album. One can only hope that these two come together again or let their legacy be untouched like Madvillainy.

24. Lorde — Pure Heroine

Who would’ve guessed that a then 17 year old from New Zealand would be the most exciting pop act of the past 5 years? Blending her eclectic choices of production with her razor sharp observational songwriting, Lorde gives a realistic take on the mind of a teenager (“Royals”) with her reflecting on her explosion that feels solemn, dark and ultimately human (“Tennis Court”). Much more than a collection of radio smashes slapped together to move units, this deconstructed pop album feels unique and gloomy to the core and Lorde hooks you in with every word she breathlessly sings.

23. A$AP Rocky – Long.Live.A$AP

I already know I’m getting some SERIOUS flack for choosing this over the excellent mixtape “Live.Love.A$AP” from you guys. Thing is to me, while there were certainly great (if not greater at times) highlights of that mixtape, the worst moments of that tape are much more apparent and certain features drag down entire songs as a whole. Flacko’s debut album has strong highlights one after another, with better production (Hit-Boy, ASAP Ty Beats, Clams Casino, Danger Mouse, Noah “40” Shebib, T-Minus, Skrillex, and better features (Schoolboy Q, Santigold, Kendrick Lamar, 2 Chainz, Drake, Big K.R.I.T., Danny Brown, Joey Bada$$, A$AP Ferg and Florence Welch) that support the record as a whole. While that certainly seems like a LOT of features, know that most songs are strictly Rocky, and that he is more than capable of carrying the best moments all on his own as well; “Long.Live.A$AP”, “Goldie”, “LVL” and “Wild for the Night” show that he can make a great song without other vocalists stealing the thunder. And even then, they never overshadow him completely except for a few (“Fuckin’ Problems” getting dismantled by Drake, 1 Train getting eating by Krizzle). New and returning faces from his mixtape come through to bring one hell of a highlight reel of guests that bring one of the most entertaining albums in hip hop as of late.

22. Flying Lotus – You’re Dead!

The shortest record to date by one of the most acclaimed musicians of the past decade comes with all the strengths of previous releases like “Cosmogramma” and “Los Angeles” into a cohesive package about one of the most mysterious aspects of life: its end. Enlisting Kendrick Lamar for the mindblowing “Never Catch Me”, along with Tesla”, “Cold Dead”, and “Turkey Dog Coma” come and go in the blink of an eye, but hold the albums statement on the reflection on death, and the uncertainty of when it will be your time. But rest assured, Flylo did his best to make something so depressing at the roots something beautiful to hear.

21. James Blake - Overgrown

I may be in the minority, but I truly love the more accessible, bearing, more quaint approach in Overgrown than I did with Blake’s debut. Blake became a more fully realized vocal performer with tracks like “Life Round Here” and “Retrograde” than he did previously, and fit the production to compliment his vocal styles perfectly. Every synth, every note, every harmony clicked for him while also retaining his signature sound. As his profile raises, so too does his ability to leave you struck in awe.

20. M83 — Hurry Up, We’re Dreaming

An ethereal experience from beginning to end, this is not only the strongest M83 album to date, but one of electronic music’s best in quite some years as well. Synthpop, dream pop, new wave, shoegazing, indie rock are all blended into one incredible experience front to back, and while “Wait” and “Reunion” are monsters in their own right, it’s “Midnight City” that is a colossal monster in which the likes the world has never heard before or since. Though it’s known this album was made more commercially friendly than previous releases from the group, sometimes running for success doesn’t need to mean you sacrifice what makes you great.

19. Queens of the Stone Age — Like Clockwork

In what is perhaps theirs strongest album since “Songs for the Deaf”, Queens of the Stone Age bring their most mellow, bleak, restrained music yet. Bringing along a hit list of contributors (Alex Turner, Elton John, Dave Grohl) as typical QOTSA albums do, Josh Homme and company do their first number one album justice with excellent songs like “I Sat By the Ocean”, “My God is the Sun”, Fairweather Friends” and bring a focused sound that the group has never had before.

18. Pusha T — My Name is My Name

Considered a companion piece to the abrasive “Yeezus”, MNIMN is the debut 3 years in the making of the former Clipse member that delivers in spades. Primarily produced by Kanye West, Pusha brings forth some the sharpest, unapologetic lyricism on grace a mainstream hip hop album with some aggressive and unorthodox production to match. (“King Push”, “Numbers on the Boards)” Ranging from Ye, to regular collaborator Pharrell (the Clipse throwback “Suicide”), Hudson Mohawke, and Swizz Beatz (“Sweet Serenade) with an all star cast like Rick Ross (“Hold On”) Kendrick Lamar (“Nosetalgia”), The-Dream (“40 Acres”) and more. King Push makes an album not for the faint of heart, or noses and holds absolutely no punches.

17. Arctic Monkeys — AM

Sounding like a love letter to psychedelic rock and West Coast hip hop, the British band manages to craft their most engrossing album yet with a collection of songs that holds your attention and never falters. “Do I Wanna Know” might be one of the strongest rock songs of the past 5 years, and “Arabella” feels like a Dr. Dre song getting flipped with an indie twist the way Alex Turner floats over the instrumental. Songs like “Snap Out of It”, “Why Do You Only Call Me When You’re High?” and “R U Mine” highlight their influences without being too indulgent and pretentious and show that a complete makeover isn’t always a bad thing. This might be the first album to declare being a lone riding space ranger without you immediately bursting into laughter.

16. Drake – Nothing Was the Same

It’s easy to want to put “Take Care” in place of this album. Believe me, I’ll probably wish that I did by the time I finish this, and I’d think the same of me putting Take Care in place of NWTS had I done so. But as it stands right now, this is the strongest release from the biggest new rap artist of the decade at the moment. Very much so a victory lap in feel (“Tuscan Leather” sets that stage perfectly with no singing at all”) it’s also the album that shows Drake truly becoming whole within the hip hop spectrum as one of its biggest voices. As if that weren’t enough, he brings together aspects of his life that were relatively untouched in beautiful songs like “From Time” or “Too Much” rather than sing about an ex he drunk dials. Though he can easily provide the solemn feels he’s known for (“Connect”, “Own It”, “Come Thru”), he sounds more ready to attack the world with his status as it currently stands than ever (“The Language”, “Worst Behavior”) and bring together an album that showcases the best of Drake the artist but also reveal Aubrey Graham, the human being.

15. Run the Jewels — Run The Jewels 2

The first 5 seconds of this record is Killer Mike saying “I’M FINNA BANG THIS BITCH THE FUCK OUT!”. The 38 minutes that follow is him fulfilling that promise. While their first album together was an excellent piece, the two coming together more fully have given us one of the deadliest pairings in rap in recent years. More structured, deeper chemistry, more layered production and strong features make this record a danger to anyone who thought they were being abrasive on an album before, showcasing police brutality (“Early”), critiquing those in power to the harshest extend and teabagging pirhannas (“Close Your Eyes and Count to Fuck”, “Lie Cheat Steal”), declaring fuckboy jihads (“Oh My Darling Don’t Cry”), and finding hope in a former drug addict (“Crown”). El-P and Killer Mike effectively raised the bar on hip hop joint albums and didn’t even charge you a dime for it. Don’t cry now.

14. Big Boi — Sir Lucious Left Foot: The Son of Chico Dusty

Probably the most underrated hip hop artist of all time, it’s easy to be overlooked when your partner is Andre 3000. But to not be acknowledged by your own peers has to be worse, especially when you make music that is just as great as him, and provide a solo debut album that is as strong as this. Recorded for over 3 years before finally being dropped on Def Jam, Big Boi brings forth the best guests, production and his own effort to the table and doesn’t cease to disappoint. Ignoring every trend in that time period, he brings out the best of every artist with him, such as Gucci Mane on “Shine Blockas”, Yelawolf on the bonkers Andre 3000 produced “You Ain’t No DJ”, Jamie Foxx on the sensually Lil Jon produced “Hustle Blood”, and packs enough punch in songs like “General Patton”, Shutterbugg”, and “Daddy Fat Sax” to prove that he is doing more than fine with 3 Stacks in the picture. In fact, he shows that if THIS is the kind of output Big Boi is releasing, it’s showing that Andre’s own proper solo debut has quite a lot to live up to.

13. The Weeknd — Trilogy

It’s impossible to pick one of Abel Tesfaye’s mixtapes as his definitive work, so I’ll let the remastered compilation make it easier on you all. Unique and breathtaking from the moment go, The Weeknd’s sex crazed drug frenzy of a trilogy of mixtapes (“House of Ballons”, “Thursday”, Echoes of Silence”) is hypnotic, vulgar, sensual, and beautifully well crafted. Whether it’s the sex you need (“What You Need”), the feelings you crave (“The Zone”, featuring mentor Drake), the wild life he lives (“The Party & The After Party”), the love letter to his fans that he won’t change in the spotlight (“Rolling Stone”), what it takes to be in the crew (“Initiation”) or a badass Michael Jackson cover, (“D.D.”), Abel has you covered.

12. Janelle Monaè — The ArchAndroid

One of the most impressive, eclectic, powerful and ingenious of our time, her debut studio album is one of the most brilliant concept records in recent memory that ties together R&B, soul, funk, progressive rock, and hip hop in ways never attempted, usually in the same song, and beautifully orchestrates them with little effort. The two incredible lead singles “Cold War” transitioning into “Tightrope” has to be one of the most magical musical moments of the past half decade and the energy of the album is as tight as its ideas of the future it presents itself in. Big Boi has discovered the bravest new voice of the Dungeon Family, and it seems she may surpass most any recording artist alive today if given the chance.

11. Big K.R.I.T. — Return of 4Eva

Perhaps the best hip hop record from the South this decade so far, Big K.R.I.T. delivers an incredibly cohesive package at the cost of $free.99 that easily beats some of the hip hop records available at retail upon their release. Whether it’s love letters to your car (“Rotation”, “My Sub”), his dreams of being a rap star (“Dreamin’”, “American Rapstar”), bass knocking, breezy Southern trunk knockers (“Get Right”), the blues and troubles of growing up poor (“King’s Blues”, “Free My Soul”), or prayers to God (“The Vent”), Krizzle is without a doubt the most underappreciated artist of his time, and projects like these are testaments that the young Mississippi king will be remembered in due time.

10. DJ Koze – Amygdala

Having literally no knowledge of the music that would come out of this album, I was completely caught off guard with this one. Grossly hypnotic, immersive, and very melodic, this German DJ/producer is in a world of his own the moment you listen this album. “Nices Wolkchen”, “Magical Boy”, may “Das Wort” may take patience to show their beauty underneath, while tracks like “Homesick” and “La Duquesa” show their extravagance early on. Richly layered and beautifully orchestrated, this unconventional electronic release will most likely remain a diamond in the rough that the electronic world will be silently catching up to decades from now.

9. Beyoncé – Beyoncé

Who in the industry could really do what Beyonce did on the scale she did it on and have it work? And THEN have the music she just threw out of literally NOWHERE have it be incredible start to finish? Bey earns her crown here in aces with what is perhaps one of the most explicit, darkest, and most mature pop albums in history, much less the best of her career. Beyonce brought together an audio and visual feast and the world could only lap at her feet at her prideful feminism. Featured writers (Sia, Boots, Miguel, The-Dream) bring a clearer vision to her words, guests (Jay-Z, Frank Ocean, Nicki Minaj) pack a punch and bring traits that help the record vary itself, and producers (Boots, Timbaland, JT, 40, Pharrell) show that Bey is still ahead of the curve with choosing her desired sound. By showcasing her love for family and her impact on popular culture, this is the pop record that will be the template to judge others for years to come.

8. Tame Impala – Lonerism

Aussie psychedelic rock outfit returned with the follow to their stellar 2010 debut “Innerspeaker” with perhaps a psych-rock opus in “Lonerism”. Stronger lyricism and more layered production such as on tracks like “Mind Mischief” and “Why Won’t They Talk to Me” showcase the band’s nostalgic feel without being overblown and pretentious. Provocative and engaging throughout, the punchier feel to the album carries your attention from the wistful “Feels Like We Only Go Backwards”, the spaced out “Endors Toi” to the slow burning “Apocalypse Dreams”, Kevin Parker and company have crafted a new age triumph.

7. Chance the Rapper — Acid Rap

Unique and crafty in every possible way, this Chicago youth has brought forth the most engaging Chicago hip hop debut since his idol released his a decade ago. This guy has had sets at major festivals around the world, and the closest thing he has to record sales are from illegal means from bootleggers. Though I admittedly couldn’t get into his voice for many songs, his great lyrics made me give it a shot and I’m glad I did. Hilarious (“NaNa”), emotional (“Everybody’s Something”, “Paranoia”,
Acid Rain”), and all around fun as hell (“Juice”) with a fluid flow to match his insane technical ability (“Favorite Song”), I see nothing but promise from Chance in the near future.

6. Disclosure – Settle

Guy and Howard Lawrence might be soon responsible for ushering in the second British invasion, as this album may be the best electronic album in at least 10 years that showcases the talents of every guest singer to the best of their abilities. Though the mega smash “Latch” featuring breakout star Sam Smith is deceptively radio friendly, the rest of “Settle” only serves to highlight how weak that song is in comparison to the rest of the project. AlunaGeorge (“White Noise”), Jamie Woon (“January”), Eliza Doolittle (“You and Me”) and Jessie Ware (“Confess to Me”) all bring forth a brilliant formula and sound the likes of which no electronic album dares attempting.

5. Frank Ocean — Channel Orange

This could really be the only thing Frank Ocean ever releases in his career, and it’d be fine with me. Crafting an R&B right out of the gate wasn’t his intention, but “Pyramids” and “Thinkin’ Bout You” were Internet darlings even before the album’s release that were loved the world over. From “Sweet Life” to “Sierra Leone”, Frank shows his songwriting prowess and singing ability is of another world, and the guest that appear (Earl on “Super Rich Kids”, Andre 3000 on “Pink Matter”, Tyler on “Golden Girl”) all come into Frank’s world and make complete perfection along with him. The fact that a track like “Forrest Gump” is the way we find out one shocking secret about him that no one saw coming makes this album legendary beyond words.

4. Nas — Life is Good

20 years into the game, and my personal favorite rapper shows no signs of slowing down; in fact, he seems to be on top of his game more than most MC’s these days. Executive produced by No I.D., Nas showcases him at his lyrical best as reflects on his life and legacy, as well as give an actual engaging piece on a 40 year old in the rap game. Purists and new fans alike can find something to love about this album, from the dusty boom bap of “Loco-Motive”, the vicious “Accident Murderer”, the beautifully written “Daughter” about his shortcomings as a father, the ill-fated and incredibly well used feature of Amy Winehouse on “Cherry Wine”, the Queensbridge tribute “Back When” and the beautiful nostalgia of “Stay”, Nas may have finally proven that Illmatic is only part of the legacy of the man’s career, and that he still has more of a story to tell. And it’s reassuring to see an artist that didn’t have to sell 60 million records still revered still be relevant and loved by millions for simply being himself.

3. Vampire Weekend — Modern Vampires of the City

Still as quirky as ever, this ever evolving band released an album that is leaps and bounds ahead of anything they’ve released. From the Souls of Mischief referencing in “Step”, to the frantic “Diane Young” to the uneasy submission of religion in “Unbelievers” in their most straightforward, thought-provoking, and cohesive album to date. Evolved and mature in production and songwriting while still containing their obscure and well constructed lyrics, it seems as if hip hop head Erza Koenig and his band can do no wrong on this Grammy winning stunner of an indie rock album.

2. Kendrick Lamar — good kid, m.A.A.d city

Kendrick Lamar Duckworth has gone from underground darling to one of rap’s greatest voices in such a short time. Making songs that are accessible to mainstream ears with enough depth for hardcore fans to sink their teeth into, The Artist Formerly Known as K. Dot has found a way to strike a balance with authenticity and challenging music no one had heard in quite a long time . Dr. Dre’s latest protégé doing ridiculous boasting like “Backseat Freestyle” is not only a chance to flex his skill, but also blends beautifully into a story of loss, identity, loss, and hope within a corrupt society. Turning the tribulations of street violence (“m.a.a.d. City”) and desire (“Money Trees”) into platforms to express his desire to do better (“The Art of Peer Pressure”), Kendrick Lamar manages to stay grounded in reality and express conscious thoughts without becoming condescending to his audience. The story kicks into full gear the first few seconds into the album with “Sherane aka Master Splinter’s Daughter” and brings some of the biggest rappers and producers in rap at the moment (Hit-Boy, Pharrell, Drake, Jay Rock, Just Blaze) to create the Illmatic of the 2010’s.

1. Kanye West — My Beautiful Dark Twisted Fantasy

This might be the most predictable pick for the top of this list, I must admit. I could tell you about the man had basically been kicked to the curb by the media an entire year for every aspect of his public and private life and returned with a booming force of an album. I could tell you about the high acclaim this received across the world over. I could tell you about the amazing verses guests like Nicki Minaj and Rick Ross bring on fantastic tracks like “Monster” and “Devil in a New Dress” respectively. I could tell you about the outstanding production on songs like “So Appalled”,” POWER”, “Blame Game”, and “Runaway”. Covering themes of excess and celebrity, Kanye West makes an album larger than life while also making the man behind the ego come to life unlike any record he’s released. It doesn’t hurt he discusses consumerism, race, and the American Dream; almost typical of a Kanye album, but know that him mentioning the deeper thoughts of MLK and Malcolm will have an album with Fergie singing about snorting lines of cocaine and marrying a porn star (ayeeee!) so it’s earned it’s “twisted” in the name. The superstar list of contributions is endless (Jay-Z, Nicki, Pusha T, Raekwon, Bon Iver, No I.D., RZA, Kid Cudi, John Legend, Chris Rock, Mike Dean, etc.) and all comes together so fluidly to create the album that the decade will truly be known for ushering in during the beginning. As predictable a pick as this is for my top spot, it’s the only that will truly be right in the end.

anonymous asked:

Can I request a scenario where all 13 boys discovering that their lover was a singer (of their favourite genre of music) by going to a concert without knowing their longer was going to perform?

[Mun] マリ: Dude, it’s like you read my mind! I’ve been thinking about a prompt like this for so long. I’m (unfortunately) going to have to divide it up though, otherwise the post will become way too long and I take only one family per request (for obvs reasons… look how long this is omg). Feel free to request the other families separately so that I don’t forget. Hope you like it! 💕

Also, please consider listening to the songs/watching the video I imagined for these prompts! They’re super rad. 


Ruki || Frank Sinatra - Fly Me to the Moon
Ruki curiously wandered into a local pub late at night, drawn in by the sound of jazzy music that could be perceived from almost a block away; trumpets, soft drums and bass, accompanied by a clear and almost angelic voice pitched slightly louder than the music. Upon walking in, to his pleasant surprise, Ruki found his lover standing on the stage, eyes closed, swaying gently behind an old-fashioned microphone as she sung Frank Sinatra’s Fly Me to the Moon with every ounce of feeling and sensuality that she could possibly muster. She wore an elegant babydoll dress, its wide sleeves drifting on the air with her every move. It took her a while to notice Ruki, who leaned against the bar with a glass of red wine in hand and a cocky smile on his face, and her voice wobbled a little when she did, but she quickly regained herself and finished the song without missing a beat. After exiting the stage, she felt a hand gently pressing against the curve of her back, followed by a soft kiss to the cheek as she turned around to meet Ruki’s gaze. “Forgive me for overlooking these talents of yours,” he whispered, overcome with admiration as he held her firmly by her waist and pressed his lips tenderly to hers. “You have an astonishing voice, one that I would like to keep only to myself… I reckon I can make you even sing more beautifully when I take you home with me…”

Yuma || Blues Saraceno - The River
The cafe was extremely crowded; Yuma wat sat at the bar, quietly sipping a pint of Guiness as overheard snippets of conversations of the people around him. Suddenly, he felt a drum beat echoing through his body, followed by acoustic chords and a sweet voice that made everyone fall silent and turn around instantly. O my lord, take this soul, lay me at the bottom of the river… Leaning on the bar with a hand on his chin, Yuma tilted his head to face the stage on the other side of the room, and was greeted by his lover looking him dead in the eye as she sang almost too innocently. He had to blink a few times to make sure it was actually her, and frowned at her when she smirked in return, fully aware of the way she was enticing him with the look in her eyes and the subtle swaying of her hips. The devil has come to carry me home, lay me at the bottom… Yuma watched hungrily, fidgeting with the hem of his shirt and biting his lip as he watched his lover throw her head back while the heavy sound of the electric guitars kicked in, tracing her exposed neck with those nimble hands of hers. He promptly stood up, making his way through the  sea of people towards the back of the cafe, where he practically dragged his lover off the stage when she had finished her set, angrily pushing her against the wall in a dark corner of the backstage area. He lifted her up and allowed her to wrap her legs around his waist, pushing his body as close to her as possible. “What the fuck do ya think you’re doing, Sow?” he growled, scowling at the satisfied look on her face. “Ya might be hot as hell when you’re moving about like that, but that doesn’t mean you should do it before all those guys, fuck…” 

Kou || BTS - FIRE (click here for the dance cover I had in mind)
The vampire stood backstage, a towel draped over his shoulders to catch his sweat, talking to his manager about the set he’d just finished with his idol group while the crew prepared the stage for the next act to perform. When they were all done, a group of girls dressed in pink-ish satin sportswear excitedly ran towards the stage with microphones in hand, one of whom deviously kissed his cheek as she passed him. Kou had not really been paying attention, and so he turned around to look at the girl. He was suddenly met with his lover’s eyes glancing back at him, winking as she made her way up the stairs while the music started building up in the background. Before Kou could call out her name in disbelief, he heard one of the girls yell bultaoreune! before the four of them broke out into dynamic, synchronised dancing, moving expertly to the strong beat of hip-hop. The manager nudged Kou’s shoulder. “Is that your…” he asked him tentatively. “Uh-huh…” Kou replied as he watched the girls, and particularly his girl, expertly moving about and singing at the same time. He was left flabbergasted, his mouth slightly agape. How had he never heard or seen her sing and dance around the house before if she did it that well? They performed a couple more well-known Korean pop songs before leaving the stage to a standing ovation from the crowd. Kou’s lover proudly trotted towards him, and he took the opportunity to pull her against his body, blatantly kissing her in front of the crew and the other performers. “My, my, M-Nekochan!” he chuckled. “The fact that you dance so well… you can bet your sweet little ass that you’re going to dance some more for me in private tonight.”

Azusa || AWOLNATION - Like People, Like Plastic
It was late at night and Azusa was on his way home with bags of groceries for the rest of the week. It was about a ten minute walk from the Mukami property to the nearest convenience store, which left Azusa no excuse but to go by foot. He turned a corner and he had nearly reached the town square when he heard a soft, familiar female voice singing. As curious as he was, he walked onto the square and neared the small crowd of people tapping their feet, clapping and bobbing their heads, some even singing along, as they stood around the presumed street artist. I stand alone and curse at the sky, I stand alone beside you… Upon coming closer, Azusa recognised the girl as his lover. Why was she standing there? She wasn’t standing there for people to throw some coins in her hat, was she? He joined the crowd and admired her with the others, not knowing exactly why she was there, but glad that she was; a shiver ran down his spine as she belted out perfectly clear note after note. I’ve never felt so alone in my life, baby, I stand alone beside you… The people clapped loudly and praised her when she wrapped up the song, to which she bowed humbly, and slowly started walking away. Eventually, it was just the two of them left, and she smiled shyly at Azusa before he took her into his arms, her guitar still hanging on her back, and planted a tender kiss on her forehead. “That was… very good…” he whispered. “I like it… keep on singing… but only for me…”

Underground Sex - Namjoon

Yooo~ Hello guys! I decided to write another scenario this time with our beloved Kim Namjoon! :3

I accept requests. Please make my day by dropping one in my ask box :)

Summary: Namjoon takes his girlfriend to an underground hip hop live..

Rating: Smut :}

Words: 2251 (It ended up longer than expected x) 

Originally posted by jung-koook

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BAD BOY! Vernon
  • the weird sweg kid who’s always wearing his beats by dre. and jamming to hip-hop music and somehow manages to pull off red sneakers with the school uniform.
  • even though he seems tough in reality he gets shy so easily and hides his face and u’r like?? how?? tbh has never gotten into trouble but only a few arguments with the other kids with they say his shoes look weird and he get mad?? like chill bro.
  • Is always sleeping in the most random places like this one time u found him asleep in the library? And another time outside of the girls bathroom? Like how does he just fall asleep and or he simply disappears from school in the middle of the day to go to his favorite shop to buy more cds and music?? how does he even mange to escape the front gates.??
  • one day u were walking home when u noticed him running in full speed towards u waving his hands. and u looked back to see if he was signaling someone but it was just I and soon he reached u and stopped for a few seconds and says “ follow me or we’ll be in big trouble” and pulls u along with him.u half trip and half run along with him his grip on ur hand firm and tugging u along to a good hiding place
  • u sneak a quick look behind and see a group of guys running fast towards y'all and u’re like “wht did u do this time?” And he just says “messed with the wrong people”. And keeps running until u guys reach the small store room where u quickly get in and close the door and hide there waiting for them to simply pass u by and not follow u in the store-room, few minutes later u hear running footsteps but they quickly get more distant and don’t stop by ur hiding spot.
  • after being in the room for a while u turn to him and ask again “why the hell are u bringing me into ur mess? And why were they after u?”.and he just sheepishly looks ur way and says “well u see i kinda told them that i’ll sell my mixtapes.. but i gave them the fake ones.. bc i don’t want others to use my music..”
  • and u’re like “alright but why drag me into ur problems we’re not even friends., no offense”. and he just smiles and “i know we’re not friends .. but now that i’ve told them u have them.. i guess we have to be..” and u’re too shocked that u don’t even hit him with the wooden stick lying next to u so u just try and comprehend everything that has happened in the last 10 mins and guess wht u should do to help him..
  • so u guys come up with the plan and call the guys vernon had made a “deal” with and try to make them believe that U have it nd they believe it and agree to meet up outside of the school and when u tired to open the door it wouldn’t budge and u wondered if y’all were stuck. and when he tries to open it doesn’t and u realize that u were locked in the storeroom until next morning?? 
  • u guys look at eachother and wonder wht y’all will do now since the door wouldn’t open so u notice a small window a little above u and ask him if he allow u to step on his back and open it and he does. so u get on his back and try to reach the window and u almost fall a few times but managed to open it and climb out of it somehow and get out so u could try and open the door from outside.
  • it takes a few tries but u end up opening it and he comes out smiling like a little puppy and high fives u and says “let’s go before i get my ass gets  srsly kicked” and u follow him out of the school where u notice the same group of boys who were following y’all.and u stand behind vernon keeping ur distance as u don’t really want to get involved.
  • so they talk for a few minutes and u pull out the small package that had the fake cds and u walk over when vernon signals u to u still stay behind him and hand him the package and the boys keep eyeing u up and down and u get the creep vibes from them so u ignore their stares.
  • they keep it and then one of them says “is that the chick who had it..”? and there’s a change in vernon’s voice “excuse me? i gave u wht u wanted why ask about her?” and the other guy smiles all creepy and shit saying “bc i’d like to keep her too if u don’t mind and comes forward but vernon pushes him back and says “stay away from her.. and if u want her u’ll have to go through me first jackass”.
  • and then they start to argue and push eachother until vernon punches the other guy and all of u are frozen until the guys spits blood and look at both of u with anger without another word u grab vernon by his back collar and run as fast as u can before the other boys can cacth up to u and go hide in a small ally.
  • since it was narrow both of u were against his chest and u could feel his heart beat and u closed ur eyes bc u were too scared to look outside and for some reason he didn’t let go of ur hand..and held it tightly just as u did. u guys heard their voices and he pulled u closer than u already were and u bury ur face in his chest and wit until it gets quite and u both pull back from eachothers arms and awkwardly get out of the ally.
  • watching all around the area he looks at u and says “uh.. sorry about before.. i shouldn’t have mentioned ur name…but i’ll drop u of to ur house come” and offers u his hand”. and u take it and walk with him in silence and when u reached home he just left without another word and u just wait until his figure is distant and gone.
  • next day somehow the principal finds about wht happened and y’all get detention for the entire day and next few days.. and when he comes to detention u just stay silent until u start to laugh bc it’s so silly and scary and he laughs along bc u sound funny to him and y’all just keep laughing until the teacher shuts u guys up.
  • u guys get more closer and become really good friends and hang out all the time and u maybe start to feel more feelings for him and one day while walking home he asks “i think we’d make a good team” and u’re like?? “for wht?” and he just laughs saying u know and ruffles ur hair “u know wht i mean babe”. and u’re like “babe?”” and then he quickly kisses ur cheek and instead of u he’ the blushing mess bc runs away screaming.
  • and yea from then he always calls u babe and y’all be dating and stuff even though u say “we’re just friends” bc u’re too shy to admit it urself yeah right honey have u seen how he looks at u?? smhh the entire school knows he’s been crushing on u.
The Best Advice You Will Ever Get

… and I’m giving it to you for free! If you’re in the music, entertainment or marketing field I have some advice for you. Read these 4 books and watch this 1 dvd. It will make a difference and in a few months you will be enlightened. The books and dvd can be found at Amazon if you can’t find them at your local store. Last time I checked $50.89 for all of them on Amazon with free shipping. When you’re rich and famous, remember who pointed you in the right direction.

Make It Happen book by Kevin Liles
Purple Cow book by Seth Godin
Crush It! book by Gary Vay Ner Chuk
Anything You Want book by Derek Siver
Inside Hip Hop dvd


I recently had the opportunity to meet and photograph renowned music manager Jerry Heller who is best known for managing N.W.A. and Eazy E and creating Ruthless Records who later signed the likes of The Black Eyed Peas and Bone Thugs-N-Harmony.  His sharp wit and business acumen is thriving at 75, where now he’s publishing books and having movies like Straight Outta Compton attempt to portray his character….The juicy stories that he indulged into briefly over the course of the shoot gave me a taste of what life was like as a rap artist manager, but now I NEED to read all about it in his recent memoir Ruthless… 

The long weekend of Martin Luther King Jr. Day helped “Hamilton” hit the number one spot at the Broadway box office in a week that saw overall sales hold steady following the post-holiday tumble posted last week.

“Hamilton,” of course, has been the hottest ticket on Broadway since it opened over the summer, but that doesn’t guarantee a No. 1 perch on the Top 10. For one thing, “Hamilton” plays in a theater (the Richard Rodgers, at about 1,300 seats) that’s on the low end of mid-size for a musical house, so even at top capacity and sky-high demand, it can be tough to compete against longrunning titles with family-friendly tourist appeal and heftier ticket inventories (such as “Wicked” and “The Lion King”).

But as the buzziest show in town, “Hamilton” ($1,769,360) has retained its heat even in the chill of January, when every single show on the boards, even the most successful, weathers an annual dip in demand. So the founding-father hip-hop musical managed to outpace longer-running successes such as “Lion King” ($1,660,171), “Wicked” ($1,590,318) and “The Book of Mormon” ($1,496,509). (It marks the second time “Hamilton” stood at the head of the class, following a week in November when an extra benefit performance, complete with an appearance by President Obama, helped push the show to the top of the chart.)


Hip-hop is a reactionary genre, therefore the essential artist at any point in its history can be considered an accurate reflection of our society. From Eminem’s late-90s rebellion-for-rebellion’s-sake sentiments, to Kanye’s self-aware pre-economic-crash obsession with consumerism, the star of this genre have consistently captured the mood of America, warts and all. Right now, the “star” seems to be Kendrick Lamar: a Compton MC who name had always garnered respectful nods from mixtape connoisseurs, but whose stock really rocketed with the release of his sophomore album, Good Kid, M.A.A.D City. Rightfully acclaimed by critics and consumers, Good Kid… managed to be a commercially successful hip-hop concept album that managed to touch on deeper subjects without sounding self-righteous. It is, unquestionably, one of the finest albums of the decade, and quite rightly put Kendrick on the map as one of the most influential figures in 21st Century music. Since then, everything he has done has surpassed expectations: from word-perfect guest features on his contemporary’s releases, to hard hitting and often abstract singles, Lamar has given us no reason to doubt his prowess. He is, deservedly, the centre of the hip-hop universe right now. So what can we learn about America from his latest release, To Pimp A Butterfly?

Well… America is pretty fucked up, basically. To Pimp A Butterfly is angry in a way that hasn’t really be heard in commercially viable hip-hop since NWA were causing protests over “Fuck Tha Police”. To Pimp A Butterfly has caused a stir with certain sections of his white audience for being too overtly focused on race politics, but this causes one to wonder if they have really been listening to hip-hop, and not just hearing it as background noise. The experiences of black Americans has been key to practically any album release in the genre’s history; the only difference with this release is that Kendrick goes deeper into the reality of the violence, drugs and sex that often make rappers “the new rockstars”. Perhaps this is because Kendrick is not merely posturing, but is instead speaking his mind on issues that hum along unpleasantly in the background of modern society that are far easier for this section of the audience to ignore, rather than confront. This is, of course, jarring, but necessary. When you consider everything that has happened in America over the past few months, perhaps the most important thing we can do now is shut the fuck up, listen, and maybe learn something.

Despite political themes being central to this album, the media focus on them is a little worrying for its legacy. Its politics seem in danger of overshadowing everything else about it, which is a shame, because while Lamar’s message is obviously incredibly important, both musically and lyrically, you’ll be hard pressed to find an album this decade that can match it. Lamar himself even told the New York Times that considering this album purely political would be “short-changing it”, and although he goes on to focus on the other themes on the album, it is also important to release what a spectacle it is from a purely musical standpoint. Jazz, funk and spoken word are all heavily prominent, and used amazingly effectively.

“For Free?”, for example, refuses to confine jazz within the usually rhythmically stiff parameters of hip-hop. Instead, Lamar bends to jazz’s off-the-beat expectations, and uses an almost scat-like flow, which causes either the hip-hop or jazz elements of the track to be compromised. Meanwhile, an obvious funk inspiration underpins almost every element of To Pimp A Butterfly. From the word go, George fucking Clinton leads the charge into the albums opener, Wesley’s Theory, while bass virtuoso Thundercat provides a slap bass masterclass that Bootsy Collins would be proud of. These prominent bass grooves are continued on “King Kunta”, which climaxes with a chant of “we want the funk!”, harking back to Parliament’s legendary Mothership Connection. These gleeful nods to the precursors of hip-hop provide To Pimp A Butterfly with an every changing texture, which causes the albums epic running time to seem more like an odyssey than a slog.

Something else that needs to be considered is that of the many subjects that are touched upon within this album, Kendrick Lamar’s almost religious dedication to hip-hop as an art form is perhaps the most ubiquitous theme. This is directly expressed in the bluntest of fashions at several points on the album, perhaps most memorably on the line “Critics want to mention that they miss when hip-hop was rappin’/Motherfucker if you did, then Killer Mike’d be platinum” on “Hood Politics”. This theme is also revisited on “King Kunta”, when Lamar audibly sounds exasperated when he claims “I can dig rapping, but a rapper with a ghost writer/What the fuck happened?”. Kendrick is a passionate rapper, but his tone of voice when he spits lines such as these is almost indignant, like he takes half-arsed lyrics personally. And who can blame him? Throughout the album, Lamar proves that this is not pure arrogance, and shows an amazing range, tackling everything from gripping spoken word on the 12 minute epic “Mortal Man”, to catchy, in-the-pocket hooks on “King Kunta”.

Some critics have faced a backlash for jumping the gun on calling To Pimp A Butterfly a “classic”, but it’s almost impossible to reach the end of the last track and not feel like you have heard something truly special. It seems that Kendrick has achieved something on a similar level to what Radiohead have achieved in the realm of rock music. He has created music that can simultaneously exist within the mainstream while maintaining a huge cult following, that can be experimental without scaring away arena crowds, and that can tackle huge subjects without sounding preachy. Time will tell if it is truly a “classic”, but unless another artist seriously ups their game, there isn’t really anyone who is going to take the title of “album of the decade” away from him.