To start things off, this idea is one million percent taken from my dearest friend, Tyneesha, however, I do promise you’ll get something different out of this. Such as the amount of times I spend crying at gigs. I need to start a tally.

I have been going to live music shows since I was 12-13-ish, and while so many I would never even imagine piling into this post, and so many that I’m ashamed to have even seen such terrible people, sprinkled in between those and the allegations are some of the most euphoric moments of individual existence. That paired with a daunting opinionated personality right down to the venue, the time of year – I’m looking at you The Big Top in the middle of Australian Summer, hand me that free water – and crowd, I have complied this list of moments I deem favourable.


In 2017, Motionless In White released their Graveyard Shift album in May and followed that up with an Australian tour in the Summer. I had more than one show to go to within a three-day period at this time, and considering the fact I was a minor and lived rurally, I went all out for this show. I had this mental list of songs I needed to hear, was on my knees begging, and outstandingly all but two were met in those hours. Plus I was attending this gig with some of my best friends, as well as being the start of shows my parents were allowing me to attend without an adult present. Crown The Empire opened for this show, which was a comedic additive to the night. I brought one of my favourite pieces of merch that night, and it’s still holding up with only slight fading in 2023! Afterwards, I ate the most terrible Hungry Jacks meal and have never eaten there again since, which really pushes this memory up.


I am not going in any sort of order here, but this gig was after the first wave of Covid-19 lockdowns, and it was going to be my first entry back into shows, and at my University too, so I was over the moon. Plus this tour was more than just an average “let’s play some songs” gig, with the band rightfully naming this tour ‘We Need To Talk’ where it was more about connecting, telling stories, and singing. As a die-hard Trophy Eyes fan this was a beautiful experience, something I haven’t ever experienced again and probably won’t. Coincidentally, I went to this show with the same friends as the one above. I was fairly drunk, but so was the band by the end of it. It was like hanging out with friends who happen to also be singing some tunes you cried to last week. To me, there really is something about being in a crowded room full of American Trad tattoos, old-school Vans, and beer that makes me think pure happiness is achievable. I think I even cried during this show. I also nearly had to sleep at the train station that night after the drivers went on strike, which certainly was eventful.


That second gig I had the same week as Motionless In White I mentioned? Well, Hellions opened, and there is something to be said about an opener who can really play to a crowd that quite literally is not there for them. To be fair I wasn’t there for the main band either since I was only there for a friend as a buddy. Hellions have had a little place in my heart of Aussie bands for years, and I can pinpoint this show as the reason they stuck with me. I love energy, I love movement, and nothing apart of their set was a dull moment. I really hate the venue that this took place in like it is pure hatred, and the fact this whole experience has made it onto this list despite that? Incredible. There is also something to be said about an artist who can really play in a terrible spot, too.


Now, this list isn’t in any numbered first-to-last order or anything, but if it were this would be a contender for that top shot. This set was only a month ago during a festival, a festival I realistically only attended for them. My bank account cried a bit, but every broke Uni student penny counted for this moment was life-changing. For context, I had desired to attend their previous Aus tour, however, was unable to due to unfortunate events and I sobbed into my partner at the time’s arms about the Instagram stories on my feed. So when I fought through two, possibly three I can’t remember, different sets of bands to get a centre barricade spot just for them I was either achieving that or dying. I have never been as happy as I was during their set. This was a top moment of my lifetime. I did miss a crowd surfer coming towards me during ‘Keep This Up’ – my fault! 100% on me! – and have a large man slam my head into the barricade bar and sit on me. Security couldn’t even get him off me for ages, and when he finally rolled off, nearly taking me over with him, everyone was insisting I go to the medical tent. Did I? No, I paid hundreds of dollars to be here I wasn’t leaving. It did result in a concussion, and a massive right side of the face bruise for a week but I meant it when I said you would have to drag me out dead to get me to leave. One of the most memorable parts of this was the fact I stood there for 20 minutes afterwards and cried. The crowd had left to go see Deftones and later Bring Me The Horizon, but I was a mess. My friend had to come to collect me. This was one of the happiest moments of my entire life, I screamed every song, I threw myself into it all and wouldn’t change it.


During the same festival as above, the only other real dire need was to see Thornhill in the morning. I love them so much. I cannot even put in words how much. There is just something about them and their music that shifts me somewhere else. My friend hadn’t heard their stuff before and afterwards, mentioned how good they were, and how they should be listening to them. I managed to hackle my way of getting a setlist too! Cue it being one of my most prized possessions now. The crowd was so fun here, especially since they were one of the first bands on the line-up to play stage four. We were all fresh-faced, a couple of vodka Redbull’s in, full of buzzing electricity. Which, to be fair, is the way I would describe not only their performances, but also their style. It was so hot during their set, I was basically melting, but alas nothing was stopping me and I was moshing around, letting loose, and yelling to some of my favourite songs.


During another favourite live music event that will be mentioned soon, Waax was an opener. There is something special about only a handful of people in the front end of a crowd that knows a band. I was so hyped when a lot of people were so dead. I was singing, I was moving, and I was the centre barricade for this event by chance too. Maz – the love of my life – was so interactive during this show. There was this moment down from the stage where she held my hand and sang to me. I was losing my mind. The number of times I got to be sung at considering how dead the rest of the crowd was from their lack of knowledge was butterfly-inducing. I mentioned it above about how there is something to be said about openers who can really play to a crowd that mostly is not there for them. I’ve seen many that get a bit overwhelmed, which is completely valid and understandable. You don’t start being confident you grow into it. That being said, when you see a band that just takes an opening spot by storm its incredibly rememberable, just like Waax here. At the end of the show, their lovely drummer handed me a setlist. I was yelling, and I still had so much more of this night to go…


…Such as The Amity Affliction. I wrote a whole piece on this gig here, after waiting for rescheduling and Covid restrictions for it. I had met them a few years prior too. I even got to see them again a few months later at Good Things Festival 2022, which was the same setlist besides their latest release, and not as fun since I went down in the mosh and feared for my life. But this night? Already off to an outstanding start as mentioned. This was my first gig with fire effects, which was fabulous, I loved that detail. The thing with Amity shows, and a lot of metal is that it’s basically a push-and-no-shove game. The objective is to crush each other, to be suffocated, and it doesn’t sound nice but it’s the most fun. The important part of it is how the crowd is with taking care of each other, and every time I have seen Amity, whether I survived or tumbled down, I am taken cared of. The setlist was nicely packed with different eras, people standing on the crowd, nudity, and a community. I ate the most diabolical Macca’s meal before a train and Uber home while in complete and utter dissociation.


This is one of my favourite moments in live music because of how different it was from most. Again, it was at a festival, but it was a set I witnessed will no stress, far away from the stage in a field of complete strangers who banded together to sit, stand, and softly sing at sunset. Compared to the high-demand pit, or any close vantage point to see Bring Me The Horizon headline a festival in Australia that was vicious, potent and loud, the far back was full of quiet, tired, and totally euphoric individuals. I tend to be a pit person unless I’m super into an artist and head for that barricade spot because I love being hyper, intense, and rowdy. That’s my thing, and this was so unlike that, and myself, that it booted this experience towards the top. Not to mention, as many people have brought up, this festival had some sound issues. Which I’m not here to complain about it, these things can happen, but strangely enough, it somehow made parts of this set better. What I mean by that is it’s Bring Me The Horizon, everyone knows their songs, so in those moments of sound difficulties, all that surrounded us was the voices of hundreds of people who didn’t need anything to keep them in time, tune, or place. It’s that kind of thing you think about as a pre-teen emo, where lyrics mean more to you than your English paper, and standing with the like-minded belting your heart out to ‘Can You Feel My Heart’ and ‘Drown’ is a dream. It was a dream. Plus, it is so contradictory to say I had a soft and gentle time seeing this band, the band known and loved for a divine aggression. 

To conclude, there have been many shows, gigs, and events I have been to in the near ten years – I can’t believe I just typed that? It’s ageing me – of live music that has a place in my heart that isn’t on this list. Because, as much as an artist can mean to you at the time, no one in the emo-alternative sphere has been safe from said artists. I hate knowing I’ve spent money, and met certain people, who have abused their positions of power to take advantage of minors, and fans. I want to note it though, I think it’s important, and I want to make it clear that a lot of these are more recent sets because of this. It sucks, it’s hurtful, and I’m exhausted of it to be fair.

Besides that downward turn there, there will always be live music in my life, so I am sure this list will probably be outdated in a year or two. Which I think is part of the joy of it. Music is ever-changing, gigs are too, and so am I. One day I might look back on any of these and think “yeah, it happened”, instead of “yeah, that happened!”. We’ll see, I’m sure I’ll let you know.

As Always, Love,


If you have been living under a rock by any chance lately than you wouldn’t know that the Tumblr darlings The 1975 just released their 6th studio album titled “Being Funny In A Foreign Language”. Though, if you’ve been online at any point within the last week then of course you know this since, once again, some British boys have broken it.

There has been this ongoing trend within media since the decade switch from the 2010’s; as contradictory as it sounds, it is as if we’re in this constant state of reminiscence, desire, and an oddly placed “thank fuck that’s over”. Really, I think a lot of this comes from the longing for Tumblr, while also despising it. It’s weird too, having been a teenager in the 2010’s, to see it so romanticised while also the current teens wishing they were apart of it. I mean, that’s how I felt with Myspace having only been around that time because of an elder sibling. Tumblr has become what Myspace was in the 2010’s – loathed, criticised (rightfully), but nonetheless yearned for.

And that is kind of exactly what this new The 1975 album sounds like if I were to personify it.


I don’t think my feed has been this full of the band since Tumblr, I mean I have friends from high school sending me tiktoks about this whole resurgence that I hardly speak to. Not to mention that the aesthetic we all associate with that era is on the return. If I’m going to be honest, I still dress like some awkward emo, grunge Tumblr kid so I’m happy it’s back in. Leave my messy eyes, Dr. Martins, and torn stockings alone, she’s trendy again.

“You’re makin an aesthetic out of not doing well” – The 1975 (BFIAFL)

I don’t really know how to talk about this album. I took no notes. I listened to it while I cried in my bedroom at night. How else was I supposed to? What I do know is that Matty Healy just be saying words and oh, oh how I love that he does.

One of my favourite things about this album is that while I will sit here and say its a call back to the 2010’s, I wholeheartedly believe it is an elevated, somewhat more grown in time, and just older. Not, in the way you would mean that this is better, for that is subjective, but as if those albums were kids, and this is them as a raging 20 something. That could just be my perception since I was so young and now I am a raging 20 something. Either way, that’s what I think, and its really something to ponder.


A teenage Taylorlani is sitting on their bed, a stolen pack of her parent's cigarettes beside her. She is the embodiment of a mess - hair, makeup, and flannel plaid clothes. Off her tiny phone speaker plays THE 1975 album 'I LIKE IT WHEN YOU SLEEP, FOR YOU ARE SO BEAUTIFUL YET SO UNAWARE OF IT'. She is crying and drained. A typical teenage girl. 



A 20 something Taylorlani is sitting on their bed, a brought with her own money pack of cigarettes beside her. She is the depiction of a put together mess - hair, makeup, and stockings with a rip at the knee. Off her laptop speaker plays THE 1975 album 'BEING FUNNY IN A FOREIGN LANUAGE'. She is exhausted, crying in a free moment. Your standard University girl. 


Okay, so maybe it might just be because I’m older. I still feel it. I feel it man, that’s what this album has been doing to me. I keep seeing those “this has changed the trajectory of my life path” tiktoks about Track 10 ‘About You’, and yeah. Just yeah. Its as if I have awoken from some dehydrated fever dream of a reality and placed back where I was supposed to be. Where teenage me thought I would be. So much of my thought process sometimes is if teenage Taylorlani would think I was cool, and with this whole resurgence I think she most certainty would think that.

Bouncing off that it’s almost as if this album, this Matty Healy is on my social media feed across all platforms (have you seen the Chicken Shop Date with Amelia Dimoldenberg? Ugh) has healed some form of my inner child. It’s grounding almost. Which you might be thinking “calm down it’s just an album, man”, and you’re right it is. An outstanding beauty that is pure freaking artistry. It is so good that I truly feel as if I have changed. Sonically brilliant as always. Tonally enticing, makes me think of spearmint.

All in all, I am here for whatever this era is. Whether Tumblr comes back head first, or it’s just the stylistic nature that was that time. I am so incredibly excited to see what other art comes from this, and who better to really slam us back in time than The 1975?


Hey, hey! 

It’s the end of July, it’s basically Halloween to me, which also means we’re a very decent amount into the year. Crazy right? This year has weirdly blown by me like a passing breath. One moment it was January and I was changing into a different University major years into my degree, and now I’m here with an abundant list of music I’ve been listening to all year. 


I actually wrote down my first thoughts to each song when this album dropped with the intent of a review, however the days and months went on and I was still too burnt out, too tired, and too sad to write a thing. Yet, in saying that, I listened to this album constantly during that time. See, Back From The Dead is aggressively feminine with a soccer punch of personal growth, age, and worth. It is quite literally everything I wanted and definitely needed. Enriched with kickass women-hood and acceptance of self delivered in a metal music love letter. The album just straight bangs. I mean, I’ve only heard the term “bombshell” in regards to women from the mouth of a man with eyes of sexualation. While I wouldn’t say reclaimed is the right word here, I want to still make a point of it. I think that’s kinda something important to unpack, as well as being a testament to what this whole project is doing. 

Notable favourite song recommendations from said album: Wicked Ways, Strange Girl, My Redemption, and Psycho Crazy. 


This might get kind of “fangirl” of me, but really that’s a good sign. I have not gone a single day since January of this year where I have not listened to these guys. That’s not even an exaggeration, my Spotify “On Repeat” is cursed now. January 2022 met us with that iconic release of WW3, and I have been basically drugged musically since. I am an addict. I want my Poptropicaslutz fix all the time. I don’t even know how to describe this stuff to you, me who writes poetry, is at a near constant loss for words. My only attempt would be if you take the Neon Pop Punk era, Myspace Scene sound of I Set My Friends On Fire/Brockencyde, 2010’s emo rap (though not necessarily “Sad Boi”), and throw it in something more intense than a blender. I don’t know how it works. I don’t know why it does. I do not know anything other than everything – and by God do I mean everything – is straight heat. I literally be giggling and kicking my legs when they randomly tweet out “new song tonight”. 

Notable favourite song recommendations: romeo & juliet, I MISS 2007, user not found, eccentric hats & motley patterns, and Hysteria is impossible without an audience. 


Do not bother making “this is a red flag” comment. Do not bother asking “are you okay?” because I do not have an answer for you. What I do have is Spotify history of the year where Hot Mulligan is very, very present, and truthfully I’m not mad about it. Well, they’re pro Milk, so maybe a little mad about it. God I hope someone gets that joke, otherwise I’m gonna look so stupid. Back to the point, I have been religiously listening to Hot Mulligan all year. I mean I will always love and be emotionally attached to this beautifully mastered genre of Pop Punk. They’re one of the few I think is making the 2010’s styles translate magically well into that of current. I also just think they’re funny. They make me laugh and feel warm and poetically sad. Of course I’ve been listening to them so much. 

Notable favourite song recommendations: Feal Like Crab, Drink Milk and Run, Featuring Mark Hoppus, and Dary. 


This is a little switch up to the previous two, but if you know me I am always listening to Scarlxrd. I tend to keep my playlists pretty organised, yet he is there in pretty much all of them. Scarlxrd is perfect for any mood at any time. Sad? Scarlxrd. Angery? Scarlxrd. Feeling your inner God complex? Scarlxrd. His discography is fairly large, so if you’re into this intense, trap, metal, rap, aggressive bass, there is bound to be something you vibe with. I love him. I love his music. He’s up there incredibly high on my top artists of all time and has been for ages. 

Notable favourite song recommendations: {Flex’}, Rxbxt Slut!, I WANT TX SEE YXU BLEED, Bible Black, and Gin Shxt. 


This is not the first time I’m talking about them and it sure as hell will not be the last. I think around this time last year I wrote this piece about artists you should be paying attention to in the scene with them as the forefront. So I guess I’m incredibly happy to say not only are they still some of my top played artists but also their incredible growth. I’m kind of emotional about it. Proud don’t begin to cover it. Mag Park have put out numerous tracks since then, and I’ve loved every single one. They are the epitome of what Pop Punk is in this modern wave, and everything that we needed to further progress. Constantly challenging the privileged white attitude/opinions (you know the ones ugh) that has always been plaguing the scene and doing it with some of the best music I’ve heard in forever. There really isn’t a question as to why I’m always listening to them. They’re too cool, too vibrant, too outstanding to not be. 

Notable favourite song recommendations: Don’t Be Racist, Outside, Kids Like Us, Liar, Serious, and Back Home. 


Again, a little bit of a switch up here, but if there is anything to know about me is that my music taste is truly everything in existence pretty much. With that being said, I, like many others, became obsessed with Aislinn’s music via TikTok, and really it’s been living rent free around my head for a while. Her voice is truly prettier than heaven knowns and I could honestly listen to her sing about anything. I can’t really explain what her music makes me feel but I know it’s something I want to never stop feeling. I don’t know guys, but there’s something about the gentle sea-breeze of my town, soft setting sun, open windows, and her music that makes me believe I am living the best human experience available. 

Notable favourite song recommendations:  poltergeist, Devil Boy, think about u, death wish, and Gwen. 


  • Dove Beach – Baby Queen
  • SELF-SABOTAGE – Waterparks 
  • Chaos Castle – Xavier Wulf 
  • Just Sign the Papers – Aaron West and The Roaring Twenties 
  • Blender – 5 Seconds of Summer
  • Clearest Blue – CHVRCHES
  • What I Would Give – Angelmaker 
  • Kiss – Lil Peep
  • Loser – Sueco
  • Two Week Notice – Leanna Firestone
  • life’s such a trip – Softheart 

Soak Me In Bleach (Or Well Alcohol Actually)

Hey, hey! 

As promised, a music related blog post, one that I have been trying to bring to you for over a year. In early 2021 or late 2020, I purchased tickets to go see some live music — however, as we’re very aware here in Australia, it’s only been the last maybe four to six months where live shows have been back in action and that gig was postponed not once, but twice. Now, there’s no ill will here or anything, I feel for the impacts the pandemic and lockdowns had on the music scene, but if anything it made the arrival of the set date more exciting. 

Usually I wait a couple of months or just under a year for the dates of shows to roll around. That’s for the bigger ones, not the local joints I like to hit up when I can. Maybe I should write something about those types of trips? But this time it was basically a year and half, which if I’m honest, built up enthusiasm for it and, in turn, the crowd was rowdy and insane. Put a bunch of Aussie metalheads in an 18+ alcohol filled gig for Aussie bands after that long of a wait and it makes sense the chaos that erupted. I loved every second of it, even the weird or negative parts, because now I get to tell this story to you. 


The main act, infamous The Amity Affliction, who are known for being very aquatic in tone. (No really, I can’t look at the ocean and not go “ah, like the amity songs”). They’re also known for being intense crowd wise, I’ve never heard of them not having at least one wall of death much like the multiple we had at second Sydney show, located at The Roundhouse. 

Although I initially brought tickets for the main act, I was just as excited for the openers Nerve Damage and Waax. Nerve Damage started it all off with an Acknowledgement to Country, which if you’re not Australian, is the acknowledgment for the indigenous peoples who’s land we’re on. I’m sad to say that it is the first time ever that’s ever happened at a concert, and I’ve been a frequent attendee since I was 13 years old. Their set was like the best taster for the night, loud, in your face, and overall politically charged. I am proud to say that I was centre barricade for this show, partly because I travelled out to the venue and always account for traffic issues and such, which left friends and myself there a tad early. However, it meant I had a fantastic view, and was blown away by each act. Especially by Nerve Damage.

Now, I love Waax. I’m not like a super/long term fan or anything (yet anyway) but I knew them, I liked them, and I was excited for them. My expectations? More than met, especially when the ever-so dashing vocalist grabbed my hand. Listen, I nearly shed a tear. The stage presence was lovely, and I am so happy to see women on stage. In fact I even managed to be handed – yes handed not snatched – a setlist. I’ve never managed a set list before. Guitar pics, drum sticks (I think? My memory sucks) even, yes, but never before a setlist. 

Okay, onto what you’re all here for, The Amity set. My loves, I don’t know how to tell you this, I think I just had one of the best show experiences of my life. There was fire! FUCKING FIRE! Honestly, I’m glad there was it turned up the temperature and being winter it was so cold that night. The energy was wild, like I said, all the built up time and restlessness made us all crazy. I lost my voice like three songs in, that’s how hard I was screaming. I think I nearly threw up from emotions, it was all so raw. Also there were mirrors? Fun house mirrors maybe? They lit up? I can’t recall exactly but it was cool. The setlist was top tier. Like you always have those conversations with people about songs you want an artist to play, what you hope or think would be cool to be heard, and that set was exactly that. I was a little sad when it was over. Part of me was exhausted and sore (more on that later), and the other part of me didn’t want it to end. I would pay for Amity to preform in my bedroom but they’d probably burn it down. 


I’ve told you how much I loved the acts, how good they were, but now for the fun part: the details! 

I mentioned centre barricade, which is a brilliant but cursed spot to have. It’s such a “stick it out as long as you can survive” position as you get an entire crowds worth of body weight pressing you into metal. Depending on the type of show of course, some aren’t that aggressive. There’s no shame in lasting one song or the whole act, but I’m excited to say I survived the whole thing without jumping out. Not without escaping some injuries. I am incredibly bruised and aching. One of my calves is black near the knee.

I had some brain cells to bandage up some body piercings before attending, and I’m so thankful for that sober-smart Taylorlani who did that because otherwise there would have been a hospital visit. I did lose an earring as it was jacked out and, to be fair, I don’t remember it happening which goes to show how much was happening at any given moment. It’s okay, I put a safety-pin in it for the time until I got home. God, the adrenaline. 

I did nearly have my medusa piercing torn out by a crowd surfers knee, but that’s okay because I did accidentally punch him in the groin trying to lift him up. I’m 5’2 guys, I’m the height of a 12 year old. I genuinely haven’t grown since that age. If you’re that guy, I’m so sorry, really I was trying to not get crushed. Speaking of crowd surfers though, one guy smelled like a metalhead stereotype, and another kicked me in the head. It’s okay, I’m okay, I’m sure they had the time of their lives. Especially the lad who stood on the crowd – yeah like on his legs – and then jumped directly on me. Iconic of them, I’m so weirdly happy I got that on camera too, otherwise I don’t know how to describe it. 

I was slammed into the barricade more times than I can count and believe me I know numbers, I can count to ten. Applaud me. It was so hype, it was so rewarding to be back at a live gig like that. But alas, there is always something that leans more negative on the night. 

A wonderful gal and lad were elbowing my side, my arm, my body all night really hard and more forceful than the crowd. At first I was like, c’mon you know? But during a quick break between songs they leaned over to apologise and say how they’re trying to stop this one large guy from groping me as he’d been trying all night. Now, I hate to say that this is something I’m used to but I am, and I knew someone had during Nerve Damage, but pushed it aside. I appreciate this couple so much. There’s this stereotype of how metalheads are terrible, big, and scary who will beat you up. But it’s a person thing, not a metalhead thing. Assholes aren’t dictated by genre. Yet, this is the type of attitude I do encounter a fair bit these days. This, like, protective community. Really, I’m so thankful for them, and I’m incredibly grateful that they even went out of their way to do so. 

Metal is full of this hand in hand, help each other out, mentality if you look deeper for it, and I’m proud to say I also live by it. I’m short, but there are plenty of girls who are shorter and smaller than me who attend. It’s not hard to help out when crowd surfers head directly for them. Not to say they’re weak, they’re at a crazy metal gig of course they’re not, but having a body thrown at you can be hell, and I do try my best to cover people when I can or it’s safe for me too.  

On a more higher note, there was insane pit action, there always is at Amity shows. There was multiple walls of death which even I at the barricade got the privilege to be crushed in. My friend got a guitar pic. We spent money on merch. I took a cup from the ground that was cool and sticky. I saw some limes floating in the air, on the floor. I got sprayed with beer and water, as well as spat on. I’m sorry to cleaners. 

It was the most fun I’ve had in ages. I don’t regret a single second of it. I chase the gig adrenaline more than anything in my whole life. It is pure erotica. I’ve been addicted since I was 13 and still wearing a scene mullet with fried bleached hair. I live for music, for live music, for the everything. I love writing about it, the whole thing. It’s more me than if I handed you a bone from a ribs. 

Wait for the Good Things 2022 blog post, since I am happy to announce I will be attending. God, I’m so (happily) broke. 

Movies That Left Core Memories So Bad That They’ve Replaced The Sad Ones

Hey, Hello, Hi, 

I want to simply brush over the fact that I haven’t written or posted anything since, I believe, February. There are many reasons, all of them dull and boring, but I think I’m back to possible frequent uploads. Thus, while a music piece is in the works, here is a list, in no particular order, of films that have left a lasting impact. 

I would be lying if I didn’t say this post wasn’t inspired by my lovely friend, Ty, who you should be reading from and posts way more than me too. Anyway, as they said, I’m no film degree nerd with any true stance to be able to comment like one, but alas I will. 

1. Narnia: The Lion, The Witch, and The Wardrobe 

2005, Director: Andrew Adamson

I feel like, for many of my generation, this one speaks for itself. However, while I loved fantasy films and novels like Eragon, C.S Lewis’s Chronicles of Narnia truly never left my head. Like ever. So much so that I freak out when I realise how old this movie and I are. You’re telling me it’s nearly been 20 years and I still think about this all the time? I remember as a kid I was so upset that the wolves were always displayed as evil in these films, which I still stand by fully, however that scene of them in the ice castle when Edmund betrays his family? Rent Free. 

2. Whiplash

2014, Director: Damien Chazelle

This film makes me sound like an obnoxious film guy at university who doesn’t really understand the complexities of it, but I like to believe I’m not like them. Miles Teller is a chef’s kiss, and considering the most recent release of Top Gun: Maverick, this is the perfect time to talk about the absolutely brilliant performance from him and his co-star J.K Simmons, who truly made me fear potential mentors/teachers. Now, I’ve heard people say this movie is boring, which I highly disagree with. Nonetheless, I understand it is the type of thing you need an attention span for to really grasp it.  

3. The Spectacular Now

2013, Director: James Ponsoldt

I am a Miles Teller girlie, through and through, since this movie and the Divergent adaptations. I believe I even forced my last partner to watch this movie with me, and couldn’t shut up during it. It is so much more than a silly love story, and to be fair one of my favourite aspects is the real depiction of mental health through a teenage boy. Yeah, Perks of Being a Wallflower is there and should be on this list in a way, but The Spectacular Now is so vastly different to it and just as important. Relationships don’t cure mental issues as much as we want them to. 

4. Coraline

2009, Director: Henry Selick

This is usually what I say when people ask what my favourite movie is and that still highly stands. I adore Coraline so much, and I’m the kind of friend who bullies you for a) not having seen it or b) were scared of it as a child. I never was, yes it’s a flex, and I even analysed it this past semester for a monster media class. 

5. Pride and Prejudice

2005, Director: Joe Wright

Oh, the love, the adoration, I have for this movie. It is truly just so magical, so outstandingly beautiful. The score, the cinematography, the casting – I mean Kiera Knightly was one thousand percent part of my sexual awakening. This film is a core memory, the essence, the atmosphere, all of it holds weight in my heart. 

6. The Mortal Instruments: City of Bones

2013, Director: Harald Zwart

Did I at the time hate this adaptation? Yes. Was I super hopeful for the show version but then dramatically betrayed, and even see myself as a victim of that show? Yes. Now, despite all that I still had it as a guilty pleasure film. Little Taylorlani would stay up late reading with it on in the background and would first try to dabble in realism portraiture trying to draw Jamie’s Jace. It was horrible, I was like 11. 

7. The Hunger Games

2012, Director: Gary Ross

Is there a running theme of 2000s novel adaptations on this list? Of course, I am nothing but a little book nerd. City of Bones is a guilty pleasure, but with The Hunger Games, there is not a single ounce of guilt. I could write essays upon essays about the book and the movie. I rewatch the whole series at least three times at minimum a year and own multiple copies of the books. I am convinced anyone who never liked it, or was team Gale, just never understood. 

8. The Crow

1994, Director: Alex Proyas

Ugh, this movie. I heard there might be a remake? I don’t want it and I don’t think anyone should. Brendon Lee’s depiction of Eric is unmatched, it is beautiful, and it is tragic the way his life ended from it. I was raised on this movie, my dad owns this doll-sized figurine of Eric and as a kid, I threw fits because he would not let me play with it. If you haven’t seen this at least once in your life, please do. 

9. Scream

1996, Director: Wes Craven

Okay, so this is not a surprise. This is deeply loved, and I am another one of those lovers. I arguably watched it way too young and was actually scared of Ghost Face when I was little, though that has done a complete switch up now. This movie was important to a loved one who passed away, which is a sad, but beautiful way of keeping their spirit alive. 

10. Love, Rosie

2014, Director: Christian Ditter

Lily Collins is another common feature on this list, and truly I do love her. This movie encapsulates the mundane, the normalities, and the complexities of human relationships, ageing, and love. It is rich and warm in emotion. Comfort movie, and living in my head. Oh, for that love.

11. X-Men: First Class

2011, Director: Matthew Vaughn

I am completely a comic girlie at heart, although I am not an MCU one to be fair. I don’t hate it, it’s really not that deep, I just view comic adaptations the same as book ones and a lot of them leave me disappointed. First Class though? Adore it. Yeah, Wolverine isn’t in it (besides that small cameo), but that’s kind of why I love it so much.  

12. Man of Steel

2013, Director: Zack Snyder

Again, comics, my heart, although yet again I am not really a DCEU girlie. The same reason as above, but I do read more DC comics. Man of Steel was one of the first comic films I fell in love with, outside of my Spider-man obsession. To be fair, I can’t tell you why besides the atmosphere, the depth, and the way it actually made me cry. Man of Steel set up something that sadly couldn’t be topped by the follow-ups for that era. In my opinion anyway.

13. Into the Spiderverse

2018, Directors: Peter Ramsey, Bob Persichetti, Rodney Rothman

I mentioned the Spider-man obsession, it’s intense. My father would tell you he hates Spider-man because of me, for every time I was around when I was young I would be binge-watching them. I saw Toby’s third movie in the cinema, yes it was 2007, and yes I was 5 years old. Now, as someone who is biracial, Into the Spiderverse and just Miles as a comic character, is something I am emotionally attached to. I will always feel more in tune with him than Peter, but I am typing this as I have a Peter Spider-man blanket on my bed. Yes, I am 20. 

14. The Hobbit: An Unexpected Journey

2012, Director: Peter Jackson

I remember when I was in year seven we had to read The Hobbit, at that time I didn’t want to, not because I hated it but because I was deep in my YA fantasy/dystopia 2010’s era and my interests laid elsewhere. Because of this, I watched the film, however, it was at that moment I fell in love with the movie and also realised that the book was being broken into different parts and had to read it for class anyway. 

15. Fantastic Mr Fox

2009, Director: Wes Anderson

Finishing off this list with an animation masterpiece, though there are plenty of more movies I can mention. I wholeheartedly cherish this movie. It’s pretty, it’s coloured like my soul, and so comforting that many of the scenes are core memories. It just makes me happy, which is something I can say for everything on this list which is ultimately the most important thing to me. 

A Helpful Guide To Misleading Advertising

How often do you open social media and immediately see a cluster of ads? Furthermore, how unlikely is it that you play a YouTube video that did not have a series of advertisements beforehand? 

Advertising is an integral part of life within the 21st Century. With technological advancement and media consumption at an all time high, we are bombarded with it on a daily basis. Businesses and organizations spend millions of dollars to do this and showcase their products to you. Modern advertising can be defined as

“A paid persuasive communication that uses non-personal mass media-as well as other forms of interactive communication-to reach broad audiences to connect an identified sponsor with a target audience.”

(F Begum)

How often do you encounter a Facebook ad that you’re highly suspectful of? Maybe it’s something advertised by ‘Wish’ that you just don’t believe? 

Deception, defined as “dishonest or illegal methods that are used to get something, or to make people believe that something is true when it is not”, goes hand in hand with advertising. The essence of advertising within modern marketing is simply to sell you a product, where we can clearly see a shift from older ‘perception of advertisements in which they come in the forms of public announcers in the market’ rather than to persuade. Deception can occur within ads

‘‘When consumers acquire demonstrably false beliefs as a function of exposure to an advertisement’’

(Xie, GX., Madrigal, R. & Boush, D.M, 2015)

When discussing deceptive advertising, ethics need to be considered. Advertising ethics has a long history, however the basis of concerns and criticisms have stayed quite similar. We can define this component of ethics as

“What is right or good in the conduct of the advertising function. It is concerned with questions of what ought to be done, not just with what legally must be done”

(Minette E. Drumwright & Patrick E. Murphy, 2009).

Some examples of ethical issues are exploitation, subliminal perception, advertising to children, and deceptive advertising as we are looking at. 

Specifically within Australia, the AANA (Australian Association of National Advertisers) Code of Ethics (February 1st, 2021) needs to be upheld. Under said code, advertising means “any advertising, marketing communication or material which is published or broadcast using any Medium or any activity which is undertaken by, or on behalf of an advertiser or marketer.” 

Along with this, the ACCC (Australian Competition and Consumer Commission) Advertising and Selling Guide is considered to ensure the law is being upheld. “The Australian Consumer Law (ACL) is a national law that aims to protect consumers and ensure fair trading in Australia.” The ACL covers:

  • misleading or deceptive conduct
  • false or misleading claims
  • consumer guarantees
  • unfair contract terms
  • unsolicited consumer agreements.

And also provides a guide to:

  • was/now’ or ‘strike through’ pricing
  • reviews and testimonials
  • online group buying.
  • environmental and organic merits
  • country and place of origin.

In 2019 the ACCC were the applicant in a deceptive marketing claim against the billion dollar company Samsung (Australia) and not upholding these requirements. Proceedings for this case were based on the claim made against the water resistance abilities of certain Galaxy models. The applicant declares that marketing dated back to 2016 showcased advertisements from Samsung “has made and continues to make express or implied representations, or otherwise has engaged and continues to engage in conduct likely or liable to cause consumers to believe, that the Galaxy phones would be suitable for use in, or exposure to, all types of water.” This, based on visual representations, includes bodies of water such as pools and the ocean. The ACCC expressed that Samsung was without reasonable grounds to make such a claim, as the phones were not suitable for use or explode to all types of water. 

The ACCC relies on S4 of the ACL, Schedule 2 to The Competition and Consumer Act 2010, Misleading Representations With Respect To Future Matters, in this case.

Samsung has no grounds, according to this claim, to use visual representatives because they, accusedly, did not undertake or have knowledge of testing the effect of the Galaxy phones when immersed in water. There was no consideration of the possible damages to phone life, which may result in operational issues. There is also the knowledge that on the official Samsung website, the S10 range was actually stated that they were ‘not advised for beach or pool use’. Samsung has apparently “denied manufacturers’ warranty claims made by customers and claims made under the ACL on the basis that the customer’s Galaxy phone has been damaged through use in, or exposure to, liquid.”

Customers experienced harm from these actions as their products were damaged as a result of water exposure. An example of this type of damage is through the charging port of the phone, as when it ‘detects’ water or even moisture in the area, the phone will not charge for ‘safety’ reasons. This comes hand in hand with a pop up displaying a warning sign. Samsung has denied any liability under its warranty obligations.  

Based on all this, the relief grounds sought after are that Samsung produced deceptive, with the possible intention to mislead, advertising marketing their product. 

This is an example why the Code of Ethics and Advertising and Selling Guide, Australian Consumer Law are two important codes of practice that need to be heavily implemented throughout the advertising/marketing aspect of businesses. Providing truthful, tactful and accurate claims for your product is your responsibility, in company with going through multiple rounds of testing and trials to enable this. Otherwise you too could be at fault with the production of faulty, misleading and deceptive products to the public. 


Act No. 51 of 1974 as amended, Competition and Consumer Amendment Act 2013

Attas, D. (1999), What’s Wrong with “Deceptive” Advertising?. Journal of Business Ethics 21, 49–59

Australian Association of National Advertisers, Code of Ethics, 1997

Australian Competition and Consumer Commission, Advertising and Selling Guide, Competition and Consumer Act 2010

Australian Competition And Consumer Commission v Samsung Electronics, 2019, Australia PTY LTD, Victoria Registry, Federal Court of Australia, Concise Statement, VID721/2019

F Begum, M N Nooh, Advertising Ethics: A Review, The Journal of Commerce, Vol. 4, No. 3, ISSN: 2218-8118, 2220-6043 Hailey College of Commerce, University of the Punjab, PAKISTAN

Minette E. Drumwright & Patrick E. Murphy (2009) The Current State of Advertising Ethics: Industry and Academic Perspectives, Journal of Advertising, 38:1, 83-108 

Samsung, My Device Displays a Water Drop Icon and Will Not Charge, 2021 

Xie, GX., Madrigal, R. & Boush, D.M. Disentangling, (2015), the Effects of Perceived Deception and Anticipated Harm on Consumer Responses to Deceptive Advertising. J Bus Ethics 129, 281–293 

Stoker’s Dracula As A Representative Of Industrial Developmental Humanist Fear’s

When thinking of Vampires, do the 21st Century renditions populated through media culture such as The Vampire Diaries, Twilight, and True Blood come to mind? The most common denominator here, separate to that of the romantic scale, is that all three were originally novels, crafted from the mythology of Vampires.

True Blood

In regards to novels however, arguably the most known featuring this breed of monster, is Bram Stoker’s Dracula, published 26th of May, 1897.

In order to deep dive into why Stoker’s monster is so notably remarkable, the conceptuality of Humanism can be examined.

The origin of the word Humanism is quite compact, branching over many different layers of history. Humanism, in simple terms, is “a democratic and ethical life stance, which affirms that human beings have the right and responsibility to give meaning and shape to their own lives.”  Now, with the expansion of technological developments, Humanists see a sharp dividing line between humans and their ‘others’, typically animals and machines. The ideas of pure humanity, its values, importantances and divinity. 

When thinking of monsters, with most representatives being used to display a type of humanistic behaviour, they are petulantly depicted as “other”, with a defined line drawn between them and humanity. While this is not always the case, the line gets blurred, purposeful or not.

Stoker emulates this concept through his exploration of Vampires in Dracula in relation to his anxieties around the peak of industrial development, and cultural advancements the world was having at the time. “Stoker puts an emphasis on the newest technology of Britain and combines them with traditional and folkloric traits,” in order to create a fearful monster empowered through these traits.


A large anxiety present within the text is the sexual identity of women and men. The term ‘New Women’ has appeared over the years in regards to plenty of the womanly character’s. One of the monstrous traits of Dracula is his ability to steal women away. “My revenge is just begun! I spread it over centuries, and time is on my side. Your girls that you all love are mine already. And through them you and others shall yet be mine, my creatures, to do my bidding and to be my jackals when I want to feed”. (Stoker 357). An example of sexuality shifts and to “address the fact that women started to focus on pleasure and not only on pregnancy.”

Dracula has an “otherness” about him, and it is shown throughout that this is a trigger for women, present through Mina and Lucy. For example, as seen when feeding from Lucy during the night Stoker explores that she must “enjoy the night’s forbidden pleasures” (Stoker 71).

Stoker’s fear of sexuality has been referenced much throughout history, and in the terms of Humanism this is highlighted through his Vampiration of his monsters. Crossing the boundaries of pure humanity, its values, importantances and divinity. For it was not just the Count who had this nature about him, it is also present through the Vampire’s as whole, as we encounter Hacker’s invisible grovel with the creatures. “There was something about them that made me uneasy, some longing and at the same time some deadly fear.” (Stoker 42).

Barnes & Noble Flexibound Edition

When discussing, especially within religious aspects, the element of ‘blood’ has been a recurring conceptualisation of purity for centuries. Thinking back towards royal families and keeping the bloodline pure, especially in regards to the era of the text being from the Victorian reign of 1837 and the Queen’s death in 1901. It comes to no shock that a bloodthirsty monster is the centerpiece for illuminating Stokers fears for future developments. 

“And you, their best beloved one, are now to me, flesh of my flesh; blood of my blood; kin of my kin; my bountiful wine-press for a while; and shall be later on my companion and my helper.” (Stoker 367). Stoker illuminates here the importance of blood as well as the difference between what the Count is conceptually to those who are human. It’s not just the blood that flows through the Vampire’s that alienates them from humanity but their horror-esc desire for it. “First, a little refreshment to reward my exertions. You may as well be quiet; it is not the first time, or the second, that your veins have appeased my thirst!” (Stoker 327). The consumption of blood, while also being an example of sexuality, is a powerful example of the Humanist fear of a tainted, unethical divinity.

Blood is a cultural concept within the text. England at the time was expanding, as represented throughout the novel in reference to different ethnicities. Transylvania is a metaphor for this with “four distinct nationalities: Saxons…mixed with them the Wallachs…Magyars…and Szekelys.” (Stoker 8). The arrival of Vampires is said to symbolise colonisation, along with reverse colonisation with “Count Dracula’s desire to become a part of the English society”. This has always been a prevalent concern of cultural expansion within the West, the growing fear of other ethnicities taking their places. “Blood is too precious a thing in these days of dishonourable peace, and the glories of the great races are as a tale that is told.” (Stoked 33). Here, we can gauge that Dracula is gratified with his “race”, his aristocratic lineage of which he is birthing.

Blood is an abstraction for heritage, for cultural identity and ancestry. Blood holds weight and significance within humanity and purity while in contrast to not only sexuality but race, which have negative connotations within societal factors. Pairing these ideas with the beliefs of Humanism, Stoker’s fears are personified into an entirely new identity. 

A vicious blood drinking monster who prays on women, enticing them, tainting their innocence through the lense of religious historical boundaries, is the personification of relevant anxieties held by Bram Stoker. Count Dracula and the Vampireism of the monsters within the text stand outside their counterparts in remarkability when analysed contextually, especially within comparison to Humanism and its democratic and ethical life stance. 


Benson Saler, Charles A. Ziegler,Philosophy and Literature, Dracula and Carmilla: Monsters and the Mind, 2005, Volume 29, Number 1

Bram Stoker, Dracula, 1897

Bram Stoker and the Crisis of the Liberal Subject

By David Glover Year: 1992 Container: New Literary History Volume: 23 Issue: 4 Page: 983

Craft, Christopher. “‘Kiss Me with Those Red Lips’: Gender and Inversion in Bram Stoker’s Dracula.” 1984, pp. 107–33, Representations, no. 8 

Kevin Dodd2 Blood Suckers Most Cruel:”The Vampire and the Bat In and Before Dracula”, 2019, Athens Journal of Humanities & Arts – Volume 6, Issue 2 – Pages 107-132

Kovač, V. (2015). ‘Bram Stoker’s Dracula: Victorian anxieties and fears’, Undergraduate thesis, Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences

LitCharts. (n.d.). LitCharts 

Literary Devices. (2020). Quotes in Dracula with Examples and Analysis

Lohnes, Kate. “Dracula”. Encyclopedia Britannica, 8 Apr. 2021

Taylor & Francis. 2022. Humanism | Tony Davies | Taylor & Francis Group.

The Grief Of February

Hey, hey!

This year I wanted to start being a little bit more personal on here, like sharing life updates and just different aspects of myself that aren’t strictly “here’s a book!” or “hey look at this band!” 

February is a month that comes around every year, and every year it pulls me under a blanket of shade and shuddering breath. When I was younger I lost an incredibly important person to me very suddenly, it shook up my life and myself to the core. February was his birthday month, and so every time the calendars flip it’s a reminder of time. 

I could talk for days about how grief and death has affected my life as I grew, how it impacts my life years down the track but I don’t really want to. I feel like I live in this loop of life that snaps like a rubber band and I never really leave it behind. 

Thus, here I am to talk about my February so far and things I do to take care of myself. That’s an important part of this whole thing is remembering you’re alive and you need care. 


I try to be as social as I possibly can be – and manage – in February. I’m usually on a university break around this time just before it goes back for the year and I try my best to compact as much in person social interactions as I can in the weeks. 

It’s important when mourning to remember those around you who are still here, to not let moments slip between your fingers that you might regret if anything were to happen. I do try to not think of things “happening” to my loved ones but the paranoia is there for sure. This month I’ve traveled a lot, catching train after train to different parts of the South Coast of NSW to see friends. Later this month I’ll be travelling out of state for the first time since I was 17 and in high school to see family. 

Friends are also important in taking care of yourself because, as hard as it can be to accept, they’re there for you to lean on when you need it! Especially if they’re offering, it’s okay to need that. Some of my closest friends, Tyneesha, Alana, and Bonnie are truly the most talented and beautiful people I have ever met so I want to use this moment to shout them out.


I was gonna title this hobbies but I know that’s clique, so instead it’s love because just do things you love. For you not for anyone else! This can be a bit difficult because sometimes I can get wrapped up in the “they’ll never get to see me grow into this” thoughts which are heartbreaking at best. But this is why I say for you, do it for you. 

For myself I’ve written a bit, two blog posts, a book review that is up on my bookstagram, this post here counts because it’s healthy to talk about your feelings positively! I’ve been messing around with my poetry again and my novel which has sat there untouched for a shamefully long time.

I’ve been making art separate from writing. Filling up my sketch book like it’s a dairy (it is) and messing around with all different unfinished pieces on my iPad. Art isn’t therapeutic for me to be fair, it’s stressful and time consuming and half the time I can’t work out why the hell this nose bump isn’t translating correctly. But it’s fantastic to channel feelings into, taking it all from within and throwing it up.

I’ve been reading, though slower to last month, and just taking my time with things. I’ve started posting TikTok’s! This is because I’m just trying to, romanticise if you will, my life and the aspect of being alive. I like appreciating existence, and taking the time to film little things has helped me mentally get back into this idea of actually living.


I won’t ever recommend just ignoring your grief, pushing it back or trying to forget. I find it does more harm than any kind of good and, personally, I like to know I still have the ability to feel those things and bring his memory alive. Taking time, taking things slowly or whatever pace is best for you and still having those moments to breathe. I fear the forgetting that comes naturally with time, so this is a really big part of February for me. 

I became obsessed with the moon and the stars because of him all those years ago, which is something really cute when you think of how I practice witchcraft and study those things now. I usually will find time to sit with them and remember, I find this an important part of this month. It’s recognising another year gone and it’s sitting with it. The weight, the tears, the love, the shaking laughter as I recall all our memories and how I live parts of my life with their influence daily. 

Grief is an ugly, unforgivable thing that you never really lose. When I was younger I hated that but now I welcome it, I welcome knowing his story will live through me and I feel these things because he lived. It takes time to get here, it takes time to get through the month of February annually but I’m okay with that.

Pleased To Meet You, Stranger, Welcome To The Ending – Music I Loved In January

Hey, hey!!

I hope you hadn’t thought I was skipping the music content this year because no way was that going to happen. I’ve had a really nice Christmas and January break and there was no shortage of music around for me. So here is my incomplete – because I can’t put it all here obviously you’ll be here forever – list of music I loved in January.


The thing about being Australian is that I’m always on the hunt for music I like in this country to build up a catalog of it. It just makes me sad how central to the US and UK everything is music wise.

So back to the point! Between You & Me is a pop-punk style band from Melbourne here in Australia. They’re vibrant and charismatic with a rich blend of pop-punk essence and something so purely Aussie. Their music has this influential charm to it that you get obsessed with, gleaming something golden.

Ever since their last record, Armageddon, released at the end of 2021 I’ve had them on a repeating cycle playing around my life. Again, I’ve been on uni break and Between You & Me probably take the cake for the most played artist during this time.


Changing up the pace for this artist, Softheart is indescribable to me. I feel weird strictly saying “rapper” whether or not that’s fronted with terms of identification such as “emo” or “Soundcloud”. Softheart is an artist, he just makes phenomenal art. Really, I could sit here and describe the melodic delicacy of tracks like “110’” but it wouldn’t even relate to the raw chaotic depth of something like “manic”. 

Beautifully complicated in its entirety, and I always find a feeling, a time or a moment where Softheart’s artistry is included in my daily soundtrack.


I don’t think I need to explain this one at all. Though maybe some of you want me to justify why Swift is here in some weird anti-pop mainstream feminine culture misogyny type of way. I get that a lot when I mentioned she’s usually a top played artist for me, paired with the “I thought you liked real music” bullshit that leaves peoples mouths. 

Music is art, life is art, I don’t plan to ever live my life being exclusive of forms of creativity by some shitty boxes in identity structured by society. I don’t care what genre it is, what you fall into. Make art, express yourself and just enjoy these aspects of the world around you for once.


I love 5sos, really with my whole heart I do. I have been one of those insanely younger dedicated Aussie fans since those boys were literal children. It surprises me sometimes how old I am, how much we’ve aged since they started making music and I found it through the holes of the internet.

I love it though, how I in my twenties still on the regular pick up a 5sos record and play it when the first time I did so I was barely a teenager. They’re on this list because I love them, they’re on this list because they’re music grew with me and is aligned with many different eras of myself. CALM is quite perfectly one of the best records I’ve ever heard which is a bold statement sure but I mean it.


Recently signed to Epitaph Records, Poptropicaslutz! are a duo who really have just created something special. I hate being closed off to the walls of a genre and I adore artists who tear it down with hammers. But this does leave me here like “how the hell am I supposed to put this into words?!” Really, I can’t so you’re gonna have to take my word for it that they’re truly magic. If I had to really pinpoint some type of idea I could only mumble something like punky-hyper-pop-hip-hop. Which um, yeah, just take my word and listen to them cause that doesn’t even explain it. 

Their discography isn’t large but it’s impressive, energetic and exhilarating. There is no doubt in my mind that this is pure artistry and it’s going to go far. I had everything on a nice little rotation of repeat in January and still now in February. I am, for lack of a better word, obsessed in the best way.


And here, to finish off this post are some songs on their own which I’ve had on repeat.

  • Bible Black – Scarlxrd 
  • If You Say So – The Dead Love 
  • Kids Like Us – Magnolia Park
  • The Medic – Foxing 
  • This Must Be My Exit – Oso Oso 

January was inherently fantastic for me musically, and so far February has been just as great that I’m so restlessly excited for what this year with offer or bring me!


Hey, hey!

Last year I read around 71 books and it was a real achievement for myself. I fell out of love with reading in late high school, not for any reason, and I only started to get that back in the pandemic but it was only a book here or there amidst the lockdowns.

2021 changed that, around mid year I decided on the goal of 70 and beat it. And this year I have a larger one of hopefully meeting 80. Which is, quite frankly, exciting!

In January I read around 10 books, though a lot of these were rereads for various different reasons.

We started off the year with ‘All Rhodes Lead Here’ by Mariana Zapata, this was a reread simply because I kept seeing excerpts from it that tugged a little bit at me. It was a great second experience, in fact I think it started off the year nicely to have something easy to fly through.

‘Second First Impressions’ by Sally Thorn took me by surprise. Thorn, the author of the recent book to film adaptation ‘The Haring Game’, has never really been it for me personally. ‘The Hating Game’ was fun, it was enjoyable and I liked it. ‘99 Percent Mine’ on the other hand was one of my lowest rated books of 2021. ‘Second First Impressions’ was a complete rotation, I didn’t just like it, I didn’t hate it even, in fact I adored it. Maybe it was more relatable, character wise, or maybe I just like how Thorn’s writing has grown, but it was everything I didn’t know I wanted.

By now most people have read the brown sisters trilogy by Talia Hibbert, but I never jumped on that train at the time. I am usually late to the party on trends. ‘Get A Life Chloe Brown’ was fun, I found myself liking it the further I went. I think part of the reason I stood off from reading it was the expectations set by everyone else, and while I really liked it I didn’t become obsessed. That’s okay though, that doesn’t dismiss everyone who is, I think it was lovely and enjoyed it all the same.

I have been going through some stuff recently, and a large part of that has to do with my identity. So, as one does, I picked up my childhood escapism, my favourite books of all time, though their not even remotely fantastic pieces of writing. Maggie Stiefvater’s ‘Shiver Trilogy’ isn’t by any means literary greatness or really great at all to be fair, but in my heart, the heart of my inner child, all three books are perfect. I followed this up with the companion novella ‘Sinner’ of course. If you’re wondering if returning to this deep comfort aided anything, it did.

Again a reread, but this time it was Emily Henry’s ‘Beach Read.’ This book was a stand out for me in 2021, I really, really loved it. Though I find that I relate more to Gus than January, it still is riddled with pure understanding of the human experience around grief and mourning, not just that brought from death either. My main reason for this reread was how deeply I wanted to annotate it.

From this I went into ‘House of Salt and Sorrows’ by Erin A. Craig. I went into this knowing nothing really about it other than ‘dead sibling mystery type beat’ and I was nicely surprised. I will say it started off stronger than it left off, and the middle got a bit drawn out which left the ending feeling quite fast paced. Still I really enjoyed it, and the world building of this sea side gothic setting.

Now if I thought Emily Henry’s ‘Beach Read’ took the themes of grief and did it justice I wasn’t ready for her ‘A Million Junes’. This one was written before the infamous ‘Beach Read’ and later novels and was YA so I was unsure what to expect. That being said I found my new favourite out of all her works I’ve read. Damn, wow, I am speechless. I think I have a picture of my tear stained pillows from when I finished this somewhere. As someone who mourns and lives with the weight of loss and death everyday I particularly find myself drawn to books who understand it and boy did this stand out. Not only that, diving into it through these ideas of generational trauma, expectations through fanatical afterlife magic and ghosts. I can’t wait to see if this will be in my favourites of the year.

There’s some books here which I have started or been slowly pacing through I want to mention here too. Firstly, as it is too a comfort book Awsten Knight’s ‘You’d Be Paranoid Too (If Everyone Was Out To Get You): A Collection Of Personal Stories And Advice’. As you can tell from the title this is a non-fiction and is broken into sections around Q&A’s or personal stories. This makes it easy to have as a continuous novel to pick up when you want to without getting lost. I have read it before – a few times – and this is my second time around annotating. I fear one day every line is going to be coloured pink. Secondly, I’ve been moving through ‘A Little Life’ by Hanya Yanagihara very pacedly. Content wise it’s very drastically heavy and a little too relatable for aspects of my life at times that it’s only something I pick up if I really feel like it and I don’t think I’d ever really recommend it. Lastly, I’ve started Taylor Jenkkins Reid’s ‘The Seven Husbands of Evelyn Hugo’ after having it on my TBR for, well for like ever. Again, I’m late to the party.

I think for the first month of the year I’ve started off on a pretty solid run towards that 80 books of 2022 but I’m curious if I can keep this momentum up.