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"Funeral Grey" by Waterparks is anything but bleak
Photo Credit: @waterparks on Twitter Waterparks fans do not worry, the constant cryptic social media posts by Awsten Knight were finally put to an end, at least for now, because ‘Funeral Grey’ is finally here. This highly anticipated track finally graced our ears on May 13, accompanied by a music video. And let me say, this track did not disappoint.
This upbeat track goes full force with high energy from the start. This track tells the story of meeting a girl that immediately catches your attention and is one who is not to be messed with, because she can hold her own and is not just going to fall for anyone. She leaves an impression for sure and cannot leave Awsten’s mind.
From start to finish, this song holds your attention and screams Waterparks. It has a catchy dance beat that drives the entire song. The guitar and drum line open the song and are consistent throughout the track. It is upbeat, dancy and not overdone. Every instrument balances perfectly in the song and no instrument overpowers the other and it does not overpower Knight’s vocals. However, it does not fall to the wayside either. It shines when it needs to and balances into the background when needed to. It will have you tapping your foot and dancing in your car, kitchen or shower every time you listen.
The instrumental build in the song is subtle and is not overly noticeable. However, if you listen closely, you can hear the slight change in volume, dynamics and power in the chorus. You can hear a change in the drums and guitar. It is just ever so slight, but it adds another layer to the song and effectiveness of the lyrics. Then at the end of the song, some parts drop and it becomes mostly vocals with some electronic effects and it is done just right. It is done quickly and only for a few moments, but it makes the end of the song just as good as the start.
Now, onto the lyrics. Just like many Waterparks tracks, this song tells a story and paints a picture.. Nothing is sugar coated or left up to interpretation in Waterparks songs, and this song is no different. Awsten Knight writes what he is feeling and experiencing and it is made clear in every song that is released. He opens with “11 p.m. she walked in with her friends ,” so the listener is dropped into an exact scene that they can picture. Then from there it bounces back and forth from what Awsten is feeling and thinking about, to his interactions with this mystery girl.
In the first verse, Knight sings, “and I said, ‘what’s your favorite color?’/ she pointed at her waist/ and I said ‘that’s not a color, it’s a shade/ she said don’t disagree with me”. He later sings in the chorus, “she wore a sweater in summer weather, yeah/ she wore a sweater, it was funeral grey”. Which provides insight into the name of the track. This mystery girl was wearing a funeral grey sweater in the summer. Once again straightforward, not much up for interpretation. It catches his attention. The whole outfit is contradictory to what you would expect someone to wear in the summer. She is not wearing a bright colored tank top or dress. She is wearing a somber color in a warm sweater, which you expect in the winter. This adds onto how this girl catches his attention and is the opposite of what he expected. She is different and does not wear, do or say what you expect and/or want her to.
This song also provides a line that will probably go down in history as one of the most iconic Waterparks lyrics. In the second verse, Knight sings, “she rolled her eyes, and then she said/ “I know your dying wish is to be baptized in my spit”. If you do not remember anything else from this track, you will at least remember that line. It is a line that was teased in clips that were posted prior to the release of the track and it has remained a popular line. It will for sure be screamed the loudest every time this song is played live.
The music video also brings the song to life. So, if you have not watched the video for the song yet, go do it. The video features the band being surrounded by many women in what we can infer is funeral grey sweaters that cover their face from the nose down. We also see performance scenes of the band through a fisheye style lens. The video also features several scenes that feature Awsten being controlled by someone else. For example, a scene where he is wrapped up in string, with his arms stretched out like he is puppet. The song and video also makes it seem like red will be the color for this new era of Waterparks, with Awsten Knight debuting red hair on social media and in the video.
So Parx fans, get all your red clothes and accessories out for this new era. Just like the girl in the song, this song will not leave your mind.
They also announced that they have signed to the record label Fueled By Ramen on May 10.
You can check out the track on all music streaming platforms and watch the video on Youtube. You can also find the band online @/waterparks on Instagram and Twitter. You can also find Awsten Knight on TikTok @/awstenmaseatiktokalright. -
OPINION: 2022 girl group debuts are frustrating
Image Credits: HYBE Corp, JYP Entertainment; stitched using IMGonline.com.au For a song called “Fearless,” LE SSERAFIM held back a lot for their debut title track.
In fact, I’ve been frustrated with two highly anticipated girl group debuts this year. The first was with JYP Entertainment’s latest girl group NMIXX. Aside from accusations of plagiarism towards their company, my issue with NMIXX’s debut was how it tried to do too much at once with no clear direction. I found their title track “O.O” overpowering and confused with glimpses of real genius and pure, uncut talent. A major positive of the debut was how it showcased the members’ strong personalities and soaring vocals, despite being saddled with a song that couldn’t decide what it wanted to be outside of a Zero Coke commercial.
LE SSERAFIM, in my opinion, has the exact opposite problem. While the group has a clear identity and slick production, the title song “Fearless” is all sizzle and no pop. The song is incredibly well-produced with empowering lyrics and my favorite bassline so far this year, but having an anti-drop after the exciting buildup of the pre-chorus makes “Fearless” sound more like a preview for the group than a proper debut. Perhaps this was the point to some extent, as much of their promotional material could easily be mistaken as advertisements for a high fashion brand, but the result is something commercial to the point of being entirely too safe.
It’s an understandable move, considering HYBE’s history with girl groups. Several factors, including but not limited to the ill-fated GLAM to the company’s long history of not accepting female trainees, made the announcement that they would be debuting a girl group made up of in-house trainees instantly buzz-worthy. LE SSERAFIM even had their own controversies leading up to their debut, including bullying accusations toward member Kim Garam and criticism from Korean netizens towards the group’s initial concept photos. According to Lopa K for Meaww, fans didn’t see the photos as being “up to the mark and standard of a huge company that is home to the global sensation BTS and other popular groups like Seventeen, TXT and Enhypen.”
“The girls are also posing against a plain and simple background with no other decor or propers which has had fans calling HYBE and Source Music lazy,” K reported. “With the other big K-pop labels going all out from expensive outfits to lavish CGI for their rookie groups like NMIXX, aespa and Treasure, fans are calling out the cheap concept photos given to Le Sserafim.”
Personally, questionable outfits and poses aside, I didn’t mind the lack of accoutrement in those photos, especially with the more glamorous concept photos that would come later. In a landscape of expensive outfits and lavish CGI, what is going to stand out more than minimalism? That being said, minimalism can become boring if you don’t spice it up with an exciting centerpiece. For a girl group which contains a member who aims to “change the idol industry,” I can only describe their debut song “Fearless” as perfectly serviceable. It is by no means bad or entirely unexciting, but it’s missing that centerpiece moment that would have helped it become something truly memorable.
So, what does a successful debut look like to me? The most shining example I can give came last year in the form of Aespa, whose debut title track “Black Mamba” struck me as an instant K-pop classic. It was bold without being overbearing and catchy without being irritating. The choreography was strong, their concept was solid and the vocals from members Ning Ning and Winter were some of my favorites of 2021. This isn’t to say every debut track should be like “Black Mamba,” because that would get tired, obvious and repetitive. The lesson to be taken from “Black Mamba,” is to stay confident with a concept and stay sharp about where to take risks and when to play it safe.
Neither LE SSERAFIM nor NMIXX are untalented by any stretch of the imagination, nor are the songs bad on. I was looking forward to both debuts and want to see them make strong comebacks that match their potential. My frustration lies exclusively with companies who select debut songs for these promising girl groups that miss the mark by mere inches when they should have been easy bullseyes.
Do you agree or disagree? Check out the full video below and let me know!
Originally published here. -
Vanner gives VVS a "BOOST" across the US with 2022 tour
Exciting. Amazing. Breathtaking.
These are just a few words fans used to describe Vanner, whose Boost Up 2022 [Part One] Tour began on March 16 at the Bottom Lounge in Chicago, IL before embarking to thirteen other cities including Orlando, FL, Denver, CO and Los Angeles, CA.
Fans, called VVS, had nothing but love for the five-piece Korean boy group when they opened with “Form,” an explosion of raw power and swagger that never failed to kick things into gear. Crowd favorite songs included “UPPER” and show closer “Trampoline,” two high energy songs with as much bounce as the latter implies. Slower moments like “Like a Star” and leader Taehwan’s solo cover of “0X1=Love Song (I Know I Love You)” by Tomorrow X Together gave those in attendance not just a chance to catch their breath, but to experience a softer side of the group and their heartwarming vocal harmonies.
Hyesung (left) and Youngkwang (right) Other cover stages included “Permission to Dance” by BTS, performed wonderfully by lead vocalist and dancer Hyesung with rapper Ahxian. Ahxian prepared a Korean rap not in the original version of the song, flexing his chops for writing as well as performing. Later, he, lead rapper and dancer Gon and vocalist Youngkwang teamed up for a cover of a remix of Paloalto’s “Turtle Ship” which features G2, B-Free, Zico and Okasian. Of all the cover stages, “Turtle Ship” was easily the highlight. While the other stages were impressive, “Turtle Ship” provided a rare opportunity to show off Youngkwang’s skills as a rapper while Gon and Ahxian watched on like proud parents.
Of course, there wasn’t anything like their original material. Directly following “Form” was another track from their 2020 Life mini album “Lachata,” a dance track that could break anyone out of a post-work slump and into their best dancing shoes. Other highlights included their latest single “Rollin” and their debut track “Better Do Better,” as well as past single “Crazy Love” and album track “Without You.” Regardless of tempo or whether it was a cover, Vanner left everything on stage and the crowd wanting more.
Youngkwang (left), Gon (center) and Ahxian (right) If there was anything the Chicago show could have benefitted from, it’s a boost of self-confidence. Hours after the performance, the group Tweeted: “Thank you for loving VANNER, which is lacking a lot. It was an honor to start our tour in Chicago.”
Taehwan later revealed he wasn’t in his best condition when he sent out his own message on Twitter just after midnight March 17.
“Chicago’s energy was great as expected,” he Tweeted. “I was disappointed that I couldn’t show you a perfect live performance due to my poor condition caused by a cold. I’ll recover quickly and show you a perfect performance.”
This wasn’t a sentiment shared by Mariah Fee, 26, who traveled from Kalamazoo, MI to see Vanner in Chicago. A fan since their 2019 debut, she felt “shocked and maybe a bit defensive” when they described their performance this way.
Mariah Fee with Vanner in Chicago, IL “I thought they did great and was surprised that they felt any different,” she said. “I’m a proud VVS and the boys did great, no lacking to be found.”
Luckily, Vanner seemed to gain assurance in their later performances. During their March 24 concert in Orlando, they performed songs like “Purge Day” with confidence and excitement that partially came from this being their first performance in Florida. This was beyond reflected by the fervor of the crowd, who shouted encouragement for them to return when Vanner mentioned this onstage. Later, they helped the group convince Taehwan to perform some of his solo song “Frozen” a cappella while Hyesung and Gon accompanied him a cappella as the backing track. It was not only a fun addition to a talk break, but an expression of camaraderie and support between fan and artist.
The pièce de résistance, however, was always going to be the April 3 date at Summit Music Hall in Denver, CO. Vanner’s performance is so anticipated in the city, it has taken on its own identity: Denvanner. It’s so ubiquitous it’s come to be used by the group themselves. According to Denver local Cerise Robinson, 19, it got started when the Colorado-based K-pop fan community KonnectPop were trying to get a K-pop group to the capital city. Once someone told them about Vanner, they did “everything in their power” to make them their first group.
Taehwan takes center stage “We all came to not only support Vanner but to show the K-pop industry Denver loves K-pop,” Robinson said. “That was many fans’ first concert ever, also mine, but it was also Vanner’s first US tour so I think that all the firsts happening that night connected us.”
After that, Denver staked their claim on the group and Denvanner was born. They’ve since gone to Denver a total of three times, all of which were attended by Robinson. She described the energy between Vanner and their particular crowd as “addictive.”
“Vanner themselves are amazing, but so are the fans,” she said. “With every show, I see more and more fans from outside of Colorado trickle in and it makes me happy. It really feels like a community.”
As much as Denver VVS truly love and appreciate Vanner, that kind of anticipation isn’t priceless. Near the end of that show, Hyesung broke down into tears and expressed dissatisfaction with his performance with help from a translator.
“It’s been a while since we performed in Denver,” he said. “We were kind of pressured to show you guys a perfect performance and show you guys our best in every way.”
Robinson’s “heart cracked” at the admission not only because of how grateful she and other Denver fans are that they’re here in the first place, but her belief Vanner could “sit in place and sing and Denvanner would still scream their lungs out.”
Cerise Robinson from Denver, CO “I guess I never thought about the pressure they might feel to have this be the best stop,” Robinson said. “I know as a fan I’ve always felt that ‘am I screaming loud enough? Can they hear the fan chants? Are we doing enough?’ …they always do great and I hope they aren’t pushing themselves too hard.”
Like a carefully chosen bow, the tour wrapped up at the Vermont Hollywood on April 8. Everyone from the crew to the crowd held nothing back, making that final show all the more explosive. Those who were able to snag a spot at or near the barricade could literally hear the way Vanner stomped their way through hard-hitting club banger “Nasty.” Later, Taehwan performed some more of “Frozen” with some good-natured ribbing from the other members in lieu of an a cappella accompaniment. Above all, the group seemed more relaxed than they had in any of the previous cities while performing above and beyond their already high caliber. In short, Vanner exuded what can only be described as true showmanship.
Olivia Castillo from Monterrey, Mexico That kind of showmanship, as well as their eagerness to interact with fans, inspired Olivia Martinez, 23, to travel from Monterrey, Nuevo León Mexico to see them in Los Angeles.
“…their music is really good, but having the experience of seeing them in person is another thing,” Martinez said. “How they sing and dance and interact with their fans makes you stan them even more.”
This was made extra special for Martinez when she got to interact with Taehwan, her favorite member or bias, something she said she hadn’t gotten to experience before.
“It’s another level how you can interact with your bias because in Mexico, it’s usually just the concert,” she said. “You don’t get to interact or talk with them.”
If this tour succeeded at only one thing, it’s showing Vanner is a can’t miss in K-pop. Just don’t let Vanner try to tell you any different.
PHOTO CREDITS: Penny Rae Hawkins, Mariah Fee, Cerise Robinson
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The Wrecks are ready to make this summer "Better Than Ever"
By: Penny Rae Hawkins
Get ready to have a summer that’s “better than ever.”
Los Angeles rockers The Wrecks announced April 8 via Twitter they will be joined by Girlhouse and Mothé for their Better Than Ever tour. The tour kicks off June 10 in Fresno, Calif. at Strummer’s Bar & Grill before visiting 30 cities across the country in support of their upcoming sophomore album.
Singles from the album “Lone Survivor” and “I Love This Part” are currently available on all streaming platforms.
All dates, tickets and VIP packages can be found here.
Image credit: Sound Digest -
Tomorrow X Together unveils first teaser for "Thursday's Child"
By: Penny Rae Hawkins
Thursday’s Child hasn’t got much further to go.
On April 14, the official Tomorrow X Together posted a teaser for their upcoming EP Minisode 2: Thursday’s Child. While only clocking in at 23 seconds, the anticipated follow-up to The Chaos Chapter: Fight or Escape already has the fandom buzzing. The clip racked up over one million views, 115 thousand retweets, 160 thousand likes and nearly ten thousand comments on Twitter in the first three hours after it was posted to the BIG HIT MUSIC official Twitter. Additionally, Twitter user @txtgenleaders noticed the music used in the trailer was identical to the clip used in Yeonjun’s Minisode 1: Blue Hour teaser.
However, this release is already proving to be far different from their first Minisode. Between shattering glass, a red and black color palette and a prophetic outro to their performance at the 2021 Melon Music Awards, this comeback seems to promise something much darker than the group has ever done before. According to Famlii, the phrase “Thursday’s child has far to go” comes from the nursery rhyme “Monday’s Child” and is often interpreted one of two ways.
“The traditional meaning is associated with Thursday children having a long, successful life without limitations,” an anonymous author wrote. “Thursday’s child is sometimes associated with children having special needs or setbacks in life. This concept of ‘far to go’ implies that children have obstacles to overcome.”
Minisode 2: Thursday’s Child will be released May 9 at 6:00pm KST (5:00am EST) and is currently available for pre-save on Spotify and Apple Music. Watch the full teaser below!
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"Welcome to paradise:" VIVIZ and Hyolin set the bar for Queendom 2
By: Penny Rae Hawkins
Run the World! Queendom 2 has arrived.
Queendom 2, the sequel to Mnet’s Queendom from 2019, is already off to an ambitious start. For starters, this season is hosted by none other than Taeyeon, the leader of legendary girl group Girl’s Generation and a solo artist in her own right. She’ll be introducing challenges and performances for Queendom 2’s crop of hopefuls for the crown: WJSN, Brave Girls, VIVIZ, Kep1er, Loona and Hyolyn. The introduction of a contestant debuted in 2010 came as a shock to myself and the rest of the girls, prompting Dayoung of WJSN to wipe down Hyolyn’s chair before she was properly introduced in what is sure to be an iconic moment.
The theme for this first episode was “Signature Song.” This proved an interesting challenge for the contestants, especially for rookie group Kep1er who have one proven hit to their name with “WA DA DA.” Veteran performers like Brave Girls and Hyolyn, who was a member of SISTAR, had years worth of material to choose from. Similar to Hyolyn, VIVIZ had an entire catalog of GFRIEND songs to rifle through as well as their newer work as a trio. The scoring of these performances are determined not only by global votes, but YouTube views on full-length videos of the performances posted after the episode’s conclusion.
Unfortunately, the competition began with bad news. Despite the six groups that were meant to perform in round one, LOONA had to drop out of filming after all twelve members tested positive for COVID-19. This left the remaining five groups to prepare show stopping performances to prove themselves worthy of the throne. Luckily, LOONA will be allowed to complete the first round’s mission once all members have recovered.
VIVIZ opened the competition with a mash-up of GFRIEND songs “Time for the Moon Night” and “Rough.” The girls’ costuming was delicate to the point of being doll-like, perfect for their elegant choreography and angelic vocals. Raising a glittering crown to the sky, they continued the program’s tradition of elevating K-pop standards into high art. Midway through the performance amidst the stars, a promise to other GFRIEND members and Buddy was put on display. This promise? “We will meet in the end. Even though we trapped in the time and lost in the way.” It proved to be a particularly emotional performance for VIVIZ member Eunha, who cried as soon as she left the stage. She later stated it was due to her previous uncertainty as to whether she’d ever be able to perform GFRIEND songs again after the groups sudden disbandment in May 2021. Overall, it’s a touching tribute and a tear jerking display of talent regardless of your knowledge of the members’ past.
Hyolyn followed up with a reworked version of “Touch My Body” by SISTAR, an iconic summer jam if there ever was one. Eschewing traditional royal imagery, Hyolyn declared herself queen of a tropical paradise. The set design evoked lush jungle imagery complete with massive ferns, colorful flowers and a digital waterfall. Despite a delay in the performance caused by a shoe malfunction, the performance was a seamless celebration of summer. If the malfunction hadn’t been revealed, it’s doubtful anyone would have noticed. The vocals were pitch-perfect and a display of pure joy, and the inclusion of choreography from her iconic solo hit “Dally” are a sharp stroke of genius. Even with an army of dancers behind her, it merely took a single champagne glass of glitter to prove why she’s the only soloist competing: because she can.
In the pre-credits preview for next week’s episode, members of WJSN are seen panicking about harm they seem to have unintentionally caused. It’s deliberately unclear whether another group’s performance or another contestant’s safety has been endangered, but it’s a gripping tease that I will surely tune into next week for the full explanation.
Queendom 2 airs every Thursday at 9:20pm KST (8:20am EST) on Mnet’s YouTube Channel and Viki. Episodes can be rewatched on either of these platforms after the end of the live broadcast.
Image credit: Mnet Official Instagram -
Avril Lavigne is back and better than ever, even when "Love Sux" (Review)
By: Penny Rae Hawkins
Avril Lavigne is pissed off at the world, frustrated with love and she’s never sounded better.
In her first release since 2019’s Head Above Water, Lavigne uses this album to take her rightful place among the decade’s pop punk/emo revival. Opening up the album with “Cannonball” is a fantastic decision, showcasing full-bodied production and honeycrisp apple guitars fresh from Warped Tour’s orchard. Lead single “Bite Me” is bratty and youthful without being unbearably immature, and I’m always a sucker for the way the instruments drop off before the last chorus. It puts a much-deserved spotlight on stellar vocals that are very distinctly Avril. Those vocals are particularly well-highlighted on “All I Wanted” featuring Mark Hoppus. Another Blink 182 member, his voice compliment’s Lavigne’s insanely well on a song about ex-partners who miss each other bitterly. Classic pop punk “woah ohs” round out this killer track, making it the best collaboration on the record.
Love Sux is packed with mosh pit-ready tracks like “Kiss Me Like the World is Ending,” “F.U.” and “Break of a Heartache.” The latter song is more punk than she’s ever been, ripping herself open and bleeding all over her more pop-leaning brand of angst. A particular standout on the album is “Bois Lie” featuring Machine Gun Kelly, a track with two unreliable narrators who are made supervillains by the toxic waste dump that was their relationship. The two spar and point the finger without once directing it at themselves, which makes for a fascinating look inside a relationship they never should have started.
Particularly noteworthy is “Deja Vu.” Its lyrics explore how loving an addict is the most bitter pill. Warm guitars blend effortlessly with heavy drums, solidifying “Deja Vu” as a real highlight. The only real low point for the album is “Love It When You Hate Me” featuring Blackbear. Despite the couple still being together, the relationship is just as toxic as the one in “Bois Lie” without any of the venom that made it guilty fun. While not strictly being a bad song, I don’t think this album has one, it’s simply redundant and doesn’t clear the high bar the rest of Love Sux set.
“Avalanche” is easily the most vulnerable song on the tracklist. Lyrics like “I wish my life would’ve come with instructions” and the introduction of fuzz pedals help visualize mascara tears she has so blatantly shed. However, “Dare to Love Me” is a fantastic contender for that title. A spare piano intro slowly builds into something utterly incredible, especially with Lavigne exploring vocals comparable to a good cabernet: full-bodied and utterly rich. Beyond everything else, it ties the album together with one undeniable fact: despite all the genuine rage and venomous regret, Lavigne still believes in love. She’s simply been burned too many times to risk dropping carefully constructed walls that protect her battered heart.
The album benefits from having veteran rock producer John Feldmann, who has been producing albums for acts including but not limited to Reel Big Fish, The Used, Story of the Year, Panic! at the Disco and Mod Sun (also a producer on Love Sux) for as long as I’ve been alive. However, the album’s real secret weapon is Travis Barker, the Blink 182 drummer who is quickly making a name for himself as a powerhouse producer. Not content just with helping Machine Gun Kelly go from a mediocre rapper to one of the leaders of the pop punk revival, Barker helps craft a project that is nostalgic in sound without being redundant or cliche. It’s fresh, blunt and a generous slap in the face to anyone’s scummy ex-lover (or lovers).
Love Sux by Avril Lavigne is not simply a great album or return to form. It’s a record that gives Lavigne room to rage where there was once mere angst, and the first record from the rocker with real teeth that she’s had more than enough time to sharpen.
Photo credit: Hidden Jams -
REVIEW: Love and Leashes (2022)
By: Penny Rae Hawkins
Leave it to South Korea to make the movie kinksters have been waiting for.
Ever since the phenomenon of Fifty Shades of Grey came and went, BDSM has become somewhat prevalent in the public consciousness. From other fanfic adaptations like the Gabriel’s Inferno and After series to knockoffs like Bound and 365 Days, E.L James has certainly made her mark for better or worse. While these properties show varying levels of kink, they all have three things in common: explicit sex scenes, abusive relationships dressed up as romance and a poor/demonizing view of kink.
The 2022 Netflix film Love and Leashes, a Korean romcom about coworkers who engage in BDSM play, contains none of this and is all the better for it. While leads Seohyun and Lee Joon-young never explicitly have sex on screen, their dom-sub dynamic is proof enough that it isn’t needed for the film to be both honest and titillating.
If you ask me, the first thing this film does right is Jihoo (Lee) being into kink from the very beginning. He doesn’t need to be pressured or manipulated into being Jiwoo’s (Seohyun) submissive; in fact, he’s the one who asks her to be his “master” after she accidentally opens a private package of his at work. Jiwoo, who has never engaged in any kind of power play, becomes intrigued and begins extensive research about being a good dominant that lasts throughout the entire film. It’s this research that inspires her to draft a short-term contract, take good care of her gear and practice on her own so she doesn’t hurt Jihoo by being unprepared. This same research also leads her to providing excellent aftercare to her submissive, something rarely seen in films with similar subject matter.
Not only does Love and Leashes do this right, but it explores the very reason some people engage in kink in the first place in a very nuanced way. While it’s a natural proclivity for Jihoo, Jiwoo not only discovers she’s into it, but she can also use it as a way to process and unleash her frustrations related to working at a sexist workplace that doesn’t appreciate her. This comes to fruition in a scene where Jihoo tells Jiwoo to curse at and hit him, only for her to start screaming at and berating him as if he were her dumb, sexist boss…and Jihoo loves every second of it. It’s refreshing to see a kinky couple onscreen where both participants are enthusiastic about the scenes they’re engaging in, and very very sexy.
While the sex isn’t explicit like in properties such as 365 or Fifty Shades, the kink feels much less threatening in nature. Whether Jihoo’s simply being stepped on or being treated like a literal dog, the explosive tension between the two leads makes it clear both parties are genuinely into it. This not only helps Jiwoo find confidence at work, but Jihoo heal from a traumatic rejection. The couple communicate, play and even err in ways that feel authentic. In short, their play is safe, sane and consensual. The one scene where a character finds herself in a nonconsensual situation, she not only saves herself but makes it clear that her taboo interests make her no less deserving of basic respect. Even if it’s not intentional, this feels like a direct and well-deserved jab at “fake doms” like Christian Grey.
All this in mind, the best part of the film is watching the emotional relationship develop between the two. Without admitting it at first, Jihoo and Jiwoo are attracted to one another within minutes of being introduced. Even though their arrangement as dom and sub is free of emotional attachments at first, the leads do a fantastic job showing how this casual kink brings them closer together through mutual trust, pleasure and communication. The ending of the film is funny without being mocking and romantic without being saccharine. In short, it was sweet in a way films of this kind don’t tend to be while maintaining the kinky aspects.
Overall, Love and Leashes is a film that explores kink in a way that was well-educated and sincere, showing that one does not have to give up their more singular tastes in order to find true love. Whether the couple are fated soulmates or not, the true companionship and respect the pair shows for one another is one writers and directors all over should take notes from.
Photo credit: Netflix Junkie -
Open Letter: Vanner Boost Up Tour 2022 – A dream come true
By: Penny Rae Hawkins
From the moment I got into rock music, I wanted to be a groupie. However, middle school self wasn’t as interested in sleeping with the band as I was being able to support and inspire the musicians who inspired me. In my head, I would follow a band to every date, fighting tooth and nail to get to the barricade and smiling when the members recognized me from city to city and state to state. Maybe, if I was lucky, one would pluck me out of the crowd like Penny Lane and whisk me away to the promised land of rock n roll. No matter where that would end up being, I would finally be home.
When the real world happened, that dream began to feel further and further away. Bills, lack of consistent transportation, depression and eventually college made it seem impossible. Now, thanks to the help of a fantastic support system and finally having a grip on my finances and mental health, that dream is becoming a reality in a way my middle school self would never imagine: a K-pop group.
As a kid, the only thing that seemed to matter to me was rock music and punk ethos. Sure, I liked (okay, adored) pop music, but artists like NSYNC and the Backstreet Boys quickly took a backseat while artists like Against Me! and Joan Jett took the steering wheel. I still had my favorites (Pink, Lady Gaga and Adam Lambert, to name a few), but those weren’t acts I intended to follow on tour. I knew what K-pop was and had songs I liked (“Purple Line” and “Call Me Baby,” to name two), but it wasn’t a genre I would seriously obsess over until January 2019 when BTS invaded my workplace.
But, even as K-pop became even more important to me, I would see my friends spend hundreds to thousands of dollars for the chance to talk to their favorite groups, and it felt even further away than ever. At least bands like Against Me! are as likely to be seen in the Grog Shop as the Wolstein Center. As much money as I’d pay to see it, there’s no way BTS’s rap line would ever do a grimy bar show. But, with the help of some very good friends, I’d discover that there are smaller K-pop groups just like there are smaller bands.
Enter Vanner: a five-piece boy group made up of Taehwan, Gon, Ahxian, Hyeseong and Yeonggwang. They debuted on February 14, 2019, under VT Entertainment with their song “Better Do Better.” I knew that song from my roommate playing it for me once or twice, but I knew I was hooked the moment I heard their leader Taehwan sing just the opening lines of “You Give Love a Bad Name” by Bon Jovi. From then, I not only began to love the band and their music, but the goofy personalities of the individual members and the passion the band’s small fanbase holds for them.
Calling the fanbase, called VVS, small isn’t an understatement. To this day, their Daum Cafe only has a little over 2,000 members and they’ve yet to secure a win on any of the major Korean music shows (Music Bank, The Show or Inkigayo). To compare, CIX debuted in July 2019 from a small company and have nearly 50,000 Daum Cafe members and secured their first win on The Show with their debut track “Movie Star.” While this is a massive bummer in general, they deserve all the awards if you ask me, this and their partnership with Rising Star makes it quite easy to build relationships with the individual members, which is something I never thought possible even in my wildest high school daydreams.
From 2017 to 2021, I studied music journalism with the goal of going to concerts and writing about music as a job. In some ways, I’ve succeeded. I’ve helped cover Riot Fest, have my own show on the campus radio station, and interviewed rock artists including The Wrecks and Dallon Weekes before I turned 25 or graduated college. Even though I’ve graduated college and am now entirely freelance, I’m excited to say I’ve been given a tremendous opportunity to follow Vanner on tour and record my experiences in essays like these and more traditional articles.
Needless to say, I never became a groupie. But I have found a way to follow Vanner to Chicago, Orlando, Denver and Los Angeles for their 2022 Boost Up tour in a more journalistic manner. In my next letter, I’ll outline the planning process and how I’ve prepared for these upcoming excursions.
Love and light,
Penny
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REVIEW: Rolling Quartz draws closer to "Rock 'n' Roll Paradise" with debut EP
By: Penny Rae Hawkins
Armed with an unwavering rock n’ roll spirit and eyes set to kill, Rolling Quartz clears the language barrier to kick some serious ass.
After debuting in 2020 with “Blaze,” Diadem have kept their eye on the five-piece Korean rock band for more kick ass tracks. On February 8, these dedicated fans received just that with the band’s first extended play Fighting. The album features six tracks, including full versions of previously released demos “Holler” and “Higher,” and brand-new tracks “Azalea,” “Rock ‘n’ Roll Paradise,” “Delight” and title track “Good Night.”
Unfortunately, Fighting begins with its weakest tracks. The mixing for the long-awaited studio version of “Holler” is a tad underwhelming, not helped by the guitars being pushed so far to the back of the mix they’re nearly inaudible. It’s saved by angelic harmonies and fist-pumping conviction from the band’s rhythm section, particularly bassist Arem, but is overall underwhelming. Fighting’s opening track “Delight” misses the mark by the skin of its teeth, a strong track that misses a golden opportunity for a face-ripping guitar solo that Iree is beyond capable of. The If you ask me, somebody should ship Travis Barker out to Seoul to work with these talented young women. Some minor tweaks and more consistent production would shoot Rolling Quartz to the level they’re clearly ready to reach.
The strongest songs on Fighting live at the end of the album. Title track “Good Night” is a dark metal track where Jayoung sings from the perspective of a sadistic narcissist who has you, the listener, exactly where she wants you. With a deep voice and well-executed rap that doesn’t hold back, the vocalist is more than capable of selling this dark concept. Aided by hard-hitting drums from Yeongeun and stealth support from Hyunjung, this is easily the standout track on Fighting. “Rock ‘n’ Roll Paradise” has much lighter lyrics without losing its edge, delivering precisely what it promises.
“Azalea” soars into an entirely new emotional realm that can only be described as heartbreaking. The song’s repeated line “even if I die, no tears fall,” alongside delicate and intelligent guitar picking from Hyunjung and show-stealing solo from Iree, strike you in the heart with its intensity and melodrama. There’s really no flowery language or sweeping metaphor that could accurately describe “Higher.” It just rips, plain and simple. Its mosh pit-ready energy and unwavering eye towards victory makes the song one of the album’s points, just an unbridled display of pure, uncut talent.
Regardless of your fluency in Korean, this is a solid debut album for any rock radio playlist. While not a perfect record, Fighting spotlights a band bursting at the seams with potential.
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