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. 

REFERENCES

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.

Twilight
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.

Adaptation

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. 

REFERENCES

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. 

FRIENDS

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.

LOVE

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.

TAKING TIME

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.

BETWEEN YOU & ME

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.

SOFTHEART

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.

TAYLOR SWIFT

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.

5 SECONDS OF SUMMER

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.

POPTROPICASLUTZ!

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.

NOTABLE SONG MENTIONS:

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!

JANUARY – I READ SOME BOOKS

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.

Video Game Sound Design – The Final

SIMPLY TAYLORLANI, VIDEO GAME SOUND DESIGN VERSION

Contextual Report, BCM215, Game Media Industries 

Author – Taylor Housman, 2021

Overview:

As explained in the Pitch, I (Simply Taylorlani), would be exploring the concept of Video Game Sound Design in relation to the study of the class Game Media Industries. This class was an open area to create and study within, allowing for the picking of a Digital Artifact to be difficult to pinpoint. This is why ST decided on focusing on not a single game or era of them but rather a single aspect that is a part of the majority. The goal here was to critically analyse the chosen media text or paratext.  

The inspiration for this project stemmed from a love of nostalgic Video Game soundtracks such as Nintendo, which is a primary example used throughout this DA. Shared within the Pitch is Youtube Ambience Nintendo inspired videos, which was the starting point. The importance of sound was briefly mentioned, but later became a larger aspect.

Before the publication of the Beta, I produced written content going through the history of sound design in correlation to video games, along with a post dedicated to favourite sounds and ambient inspired playlists, highlighting the different aspects they are used outside of game media space. Written content was the original product to be produced by this DA, and developed to sharing game music stuff on the content based Instagram via stories. 

To be fair, this project did not go as planned. I found that researching this topic was interesting, which led to the brief history post, however it was difficult to create engaging content with. There were many draft pieces, ideas and concepts relating to methodology and research floating around, with little actually being produced. This was largely due to the fact I had no idea to break apart information into separate blog posts outside of things like “a history” etc. Along with being able to find a personal voice that didn’t feel as if I was quoting a textbook. Ultimately, while I did small efforts like Instagram stories, I had no idea what to do with this project, with my information, which created an unmotivated environment. I found myself focusing on other DA’s over this one. 

While I, the creator, grew bored with the project with no path on how to improve, it was also lacking in any kind of engagement. A lesson would be that people are not that interested in reading about Game Media, and as am I. 

Some Research:

This source was a great introduction to “Sound and Music in Film and Visual Media” as it is a critical overview and not directly Video Game related. This was helpful because it conveyed a connective idea and the way different forms of media, like films and games, utilises aspects of design like sound. 

“The Evolution Of Video Game Music” aided in creating understanding. As someone who isn’t intensely invested in history, especially not of games, this was able to convey points of it to me. “History Of Video Games” – “Whereas in the early years the music was often created by the programmers themselves, today’s video game scores are created by film music composers…”

Because of my slight focus on Nintendo, I went a little deeper in trying to uncover some of the history for their Sound Design, especially with how known in Pop Culture it is. “Kondo, however, felt differently: ‘I wanted to create something that had never been heard before, where you’d think, “this isn’t like game music at all…”’, he said in a 2007 interview with Wired.”

Some other notable sources that were helpful and interesting in this project were:

Methodology:

From that last point of nostalgia, I explored the frameworks of Nostalgia, Aesthetics and Genre. I explore this largely in these two blog posts. “Nostalgia is powerful here because over time simple aspects such as Sound Design become ingrained within your mind…sound is there to enhance the visual experience by adding to it and so by nature the overall aesthetic of the game is needed in context. Imagine playing Animal Crossing without their classic soundtrack but instead one of a horror game. It changes the interpretation, connectivity and experience…Horror soundtracks are so emotive, they create a connection with the audience. Thye make you feel something…” (Myself, ‘Yes More Game Sound Design’). 

Feedback & Final:

Over the course of this project, mainly through both the Pitch and Beta as those had the most engagement, I received mainly positive feedback. This was mainly from peers, who were helpful in creating more understanding of my own content, who provided positive words like how interesting the initial concept was. 

I believe this project had good intentions, had the right idea and in theory would have worked. However, it is abundantly clear that even when something looks good on paper, in action it can fail. This whole process has been a learning curve for myself, and while I am disappointed in the turn out, am grateful for the experience. 

References:

Bridgett, R. (2013). Contextualizing game audio aesthetics (J. Richardson, C. Gorbman, & C. Vernallis, Eds.). Oxford University Press.

Dazed (2020) Going deep on the blissful brilliance of Animal Crossing’s soundtrack, Dazeddigital.com. Available at: https://www.dazeddigital.com/music/article/48988/1/going-deep-on-the-blissful-brilliance-animal-crossings-soundtrack-new-horizons 

Extraverts, E. I. N. (no date) A thesis presented to, Gatech.edu. Available at: https://smartech.gatech.edu/bitstream/handle/1853/54462/LEVY-THESIS-2015.pdf 

Friedman, L. (2016) “Why nostalgia marketing works so well with millennials, and how your brand can benefit,” Forbes Magazine, 2 August. Available at: https://www.forbes.com/sites/laurenfriedman/2016/08/02/why-nostalgia-marketing-works-so-well-with-millennials-and-how-your-brand-can-benefit/ 

Fritsch, M. (2013). History of video game music. In Music and Game (pp. 11–40). Springer Fachmedien Wiesbaden.

geargods (2018) The importance of sound design in video gaming, Geargods.net. Available at: https://geargods.net/editorials/the-importance-of-sound-design-in-video-gaming/ 

How Nintendo changed the course of music history (no date) Frieze.com. Available at: https://www.frieze.com/article/nintendo-music-super-mario-bros-metroid-game-soundtrack 

Jack Wall – IMDb (no date) Imdb.com. Available at: https://www.imdb.com/name/nm0908410/ 

Klimmt, C., Possler, D., May, N., Auge, H., Wanjek, L., & Wolf, A.-L. (2019). Effects of soundtrack music on the video game experience. Media Psychology, 22(5), 689–713.

kotakuinternational (2019) Why nostalgia for video games is uniquely powerful, Com.au. Available at: https://www.kotaku.com.au/2019/02/why-nostalgia-for-video-games-is-uniquely-powerful/ 

Lane, N., & Prestopnik, N. R. (2017). Diegetic connectivity: Blending work and play with storytelling in serious games. Proceedings of the Annual Symposium on Computer-Human Interaction in Play.

Leamcharaskul, J. (2017) What is Horror Game Music and its Effect on the Player?, Medium. Available at: https://medium.com/@JDWasabi/what-is-horror-game-music-and-its-effect-on-the-player-c3bfff3bc51d 

NPR (2008) “The evolution of video game music,” NPR, 13 April. Available at: https://www.npr.org/templates/story/story.php?storyId=89565567 

Roberts, R. (2014). Fear of the unknown: Music and sound design in psychological horror games. In Music In Video Games (pp. 152–164). Routledge.

Tierney, J. (2013) “What is nostalgia good for? Quite a bit, research shows,” The New York times, 8 July. Available at: https://www.nytimes.com/2013/07/09/science/what-is-nostalgia-good-for-quite-a-bit-research-shows.html 

Wood, S. (2009) “Video game music: High scores: Making sense of music and video games,” Sound and Music in Film and Visual Media. The Continuum International Publishing Group Inc. doi: 10.5040/9781628928969.ch-007. 

(No date) 134.178:9000. Available at: http://45.114.134.178:9000/digi/MP03/B1L3-0048.pdf#page=172 

Simply Taylorlani Goes Musical – The Final

SIMPLY TAYLORLANI GOES MUSICAL

Contextual Report, BCM241, Media Ethnographies

Author – Taylor Housman, 2021

Overview:

This semester Simply Taylorlani (ST) underwent further developmental changes in exploring the field of creating and producing written content, weekly stories and a playlist centered around one particular niche. For this venture the niche was decided and finalised by an Instagram poll, with the winning votes going towards music.  

This blog and Simply Taylorlani have produced music related content before, allowing for the ideas to flow from the beginning. Too many ideas, and a broader open niche was inherently the first project struggle. As seen here in this post, this Digital Artifact started with multiple genres. After contemplation and time creating, the DA was narrowed down to just Pop Punk with slight touches on Emo/Midwest. This contributed to the further research that underwent through the course of this project, being able to connect articles, analytical sources and lecture content.

Research:

Pop Punk is a music genre, one that isn’t small and it’s history “cannot be neatly explained and packaged into a tight little box. It’s complicated, messy, and spills over into multiple genres among fusing with others.” It can be described as difficult to understand unless you have deep roots, ones that ST has and utilised within this DA. It can be argued when Pop Punk began, but the late 90s and 2000s saw it catapult headfirst into mainstream culture, before fizzling out of the spotlight. 

One of the first points made was that “this isn’t just a hobby, but a lifestyle and identity.” ST engaged with this idea outside of personal experiences. YOUTH SUBCULTURE –  “A subculture is a way of life. It isn’t a fan club, its a real life…So it’s a way of having something that they can say they belong to and that they are.” 

This source aided in diving into aesthetics, something mentioned here that ST found was a large contributor to the personal identities/persona of the subculture, also deepening the idea that it is a larger concept than just music. Pop Punk style has developed with time, but much like the music, spills over and from “traditional” Punk. This source looks more into those aesthetics. 

As mentioned before, Pop Punk fizzled out, and Loudwire here explores how this genre survived, especially with its multitude of issues. These issues are something this DA inspected. “Toxic masculinity had the 2000s in a chokehold…lyrics rife with misogyny…culture that would ridicule women…it was normalized at the time…some bands made a nasty habit of abusing their power and access to young girls on tour.”

One thing Simply Taylorlani set out with a goal to do was pull away from the mainstream artists who, once again are taking it to the spotlight. Alternative Press shared a list of “10 individuals supporting the genre while, mostly, staying out of the spotlight.” Music is much more than songs and artists, it is an industry full of teams and producers as well. 

Genre blending as a concept is not strictly Pop Punk, it is a wave in the industry that just expands music. However, as ST explored the new era of Pop Punk that stepped away from the 2010’s sound of bands like The Story so Far and The Wonder Years, elements of this are more present. “I personally believe that the rise of the mixed genre is a testament to the creativity and talent of today’s music artists.” 

Introducing the way 2010’s Emo Rap has influenced the stylistic evolution of Pop Punk and vice versa. Kerrang – “a constellation of genres with a hustle-hard, DIY ethos championed from different corners and dragged from the bedroom…“It’s like punk,” he [Scarlxrd] reckons…“Punk came on the scene with people playing in basements…We’re all inspired by what we’re inspired by.”…[Horse Head] taps more directly into his emo and pop-punk influences…riffing on bands like Rilo Kiley and Taking Back Sunday.”

 “The thing is we have all the ingredients for a pop punk band, but it’s the last thing I want to be…it’s like – and it’s no disrespect…but it’s like I just like so much more, you know what I mean?” – Awsten Knight of Waterparks, Zach Sang Show

Timeline Version One
Timeline Version Two
Stories & Weekly Song’s/Album’s Example

Autoethnography:

Autoethnography, the “approach to research and writing that seeks to describe and systematically analyze personal experience in order to understand cultural experience.” aided in this project from the start. I have grown up in this world and most of this is personal experience. This approach has allowed me to critically reflect on all those experiences and being able to transcribe my lively experience into formal work has given myself a whole new perspective. As someone who creates this type of content outside of University, I believe my work has developed stronger from it. ST is more professional – design changes, approach shifts and industry relationships. I have met new people, grown as a writer and have been able to articulate what my writing in life is. Frameworks such as Postmodernism aided in this project the same way. My work is centred around the modernity of the niche, the cultural shifts, which are still arguably “hot takes”. The gatekeepers who can’t let go of Blink-182’s sound being the default setting, those who think there aren’t any power abusers, are reluctant to transition into contemporary developments.  

As stated before, Persona is a deeply important aspect of this niche. Authenticity is key, especially when building relationships with others. Pop Punk is a community, there are people who make up that community from bands, producers, writers, podcasts, fans etc. Knowing who you are within that, finding your “niche” in this world and being truthful to/in your content holds weight. I could have lied in all posts, but then the bands I’ve met from that would be fake relationships. The songs I shared I actually love, I could have lied about that too, but the connections and attraction achieved would be false. Subculture isn’t a hobby, it’s a lifestyle, you don’t tap in and out, there is no room to not be your persona even online. 

Podcast Feature

References:

10 music industry pros fueling the pop-punk revival behind the scenes (2021) Altpress.com. Available at: https://www.altpress.com/features/music-industry-pros-pop-punk-revival/ 

Album review: Lil Lotus – ERRØR BØY (no date) Kerrang.com. Available at: https://www.kerrang.com/reviews/album-review-lil-lotus-error-boy/ 

Berkland, D. (no date) Androcentrism and misogyny in late twentieth century rock music, Core.ac.uk. Available at: https://core.ac.uk/download/pdf/145050367.pdf 

Boas, S. (2020) Boas: Pop punk has a diversity problem, Northbynorthwestern.com. North by Northwestern. Available at: https://northbynorthwestern.com/boas-pop-punk-has-a-diversity-problem/ 

Davis, J. R. (2006) “Growing up punk: Negotiating aging identity in a local music scene,” Symbolic interaction, 29(1), pp. 63–69.

FQS (no date) View of autoethnography: An overview, Qualitative-research.net. Available at: https://www.qualitative-research.net/index.php/fqs/article/view/1589/3095 

From Lil peep to paramore, Emo and rap have been related for years (no date) Kerrang.com. Available at: https://www.kerrang.com/features/from-lil-peep-to-paramore-emo-and-rap-have-been-related-for-years/ 

Gaponov, S. A. (no date) YOUTH SUBCULTURE, Sfu-kras.ru. Available at: http://elib.sfu-kras.ru/bitstream/handle/2311/4694/5201.pdf?sequence=1 

How Emo rap has redefined rock music (no date) Kerrang.com. Available at: https://www.kerrang.com/features/how-emo-rap-has-redefined-rock-music/ 

Kay, B. (2012) History of pop-punk music with timeline, Spinditty. Available at: https://spinditty.com/industry/History-of-Pop-Punk-Music-with-Timeline 

The Art of Punk and the Punk Aesthetic (no date) Designobserver.com. Available at: https://designobserver.com/feature/the-art-of-punk-and-the-punk-aesthetic/36708 

The rise and popularity of mixed genre music (2015) Tremr.com. Available at: https://www.tremr.com/michaelab/the-rise-and-popularity-of-mixed-genre-music 

West, E. (2015) “where is your boy tonight?”: Misogyny in pop punk, Athena Talks. Available at: https://medium.com/athena-talks/where-is-your-boy-tonight-misogyny-in-pop-punk-669eccedc811 

yasminesumman (2021) Pop punk’s inevitable comeback – how the hell did it even survive?, Loudwire.com. Available at: https://loudwire.com/pop-punk-comeback-how-survive/ 

(No date) Researchgate.net. Available at: https://www.researchgate.net/publication/265416952_The_Aesthetics_of_Punk_Rock 

Simply Taylorlani The Musical – The Final

SIMPLY TAYLORLANI THE MUSICAL 

Contextual Report, BCM206, Future Networks

Author – Taylor Housman, 2021

Overview/Summary:

This semester, a collaboration between this blog and my content based Instagram, Simply Taylorlani (ST), worked to develop and create a Digital Artifact project. This project as a whole was to produce written content centred and exploring a particular interest. This niche was decided by a poll on ST’s stories, choosing between books or music. Music won with 86% to 14% difference, much to my excitement. 

Before the commencing of this DA, written blog posts, Instagram and Twitter were something I utilised to engage with and contribute to music. Written content is where this started, which eventually branched to Instagram stories and posts.The idea that music scenes are more than a hobby, but a lifestyle, especially one’s like Pop Punk and Emo, is a large concept I work within separate from University. It is work and something I’m focused on furthering career wise. Which is why this was a perfect opportunity to attach a University DA to. 

There are many people who have been an inspiration to my writing over the years, but someone who is working within a similar realm to what I’m trying to do is Yasmine Summan, a media writer from the music scene. 

Process/Analysis:

The process of this project was, as I have mentioned in progress posts, not too difficult for me. This, I believe, is strongly because I chose a niche/subject to centre this DA around that I am strongly invested in in my outside life. That being said, there were certainly ups and downs and growth. 

The first piece I wrote was an album ranking, and while I’m not disappointed in what I produced there was little to no engagement. At this point I was not creating Instagram posts for the blogs either. I wasn’t exactly digesting readings or analytical content around this time either, and largely diving into my personal experiences. 

The second post is where this project started to take off. I wrote a piece shouting out artists and bands within the Pop Punk scene, ones that were not a part of “celebrity circles” benefiting off the bands that kept a genre alive for over a decade when it faded out of the mainstream spotlight. There is an immense amount of creatives who are doing more for the scene than those celebrities and I felt it was important to highlight them. After sharing the post on Twitter, a band which I featured took notice, retweeted, and liked it while the vocalist of the same band did the same, followed me, and quote-tweeted it “This!!!”. They later followed me on my other platforms.

From this, artist recognition was something that became a regular, which was a very shocking result of this project. I am incredibly appreciative of it too, and the few connections I have thus created. Around this time I started sharing weekly songs and albums on Instagram stories, and created a playlist to keep them in one spot. I got some engagement from audiences separate from University peers as bands/artists would retweet. This led me to making tweeting at those within the scene a thing, and from this new followers etc arrived. 

Timeline Version One
Timeline Version Two
Stories & Weekly Song’s/Album’s Example

I started to regularly partake in readings and research. A full reference list will be at the end, but some notable quotes and points are:

I continued on with this streak, writing blog posts, tweeting, stories, Instagram posts. It was fun, and allowed me to explore further in depth the styles of writing I prefer, which gain tracking and such. The other aspects of this project were my graphic design changes, making my blog and ST more professional, and maintaining industry relationships. 

I managed to feature on a friends podcast during this experience, where I do briefly touch on how I got into music. I received a lot of nice feedback as well, which was really comforting and motivating. I spent a lot of time trying to make lecture and framework connections to this project, and some feedback was very insightful in assigning Postmodernism framework and ideas to it. I go deeper into this here. 

Over the course of this DA I have learnt how to properly engage within the subculture and media sphere that I desire to work within. I have accomplished more than what I ever thought I could have, and found a larger passion for it while developing it to fit a work identity. Adapting this further to online professionalism, and persona, more than I already put out there, has increased my comfortability with presenting myself. For example, I never included my writing on Twitter much or ST before this DA out of fear. I have grown in ways I wouldn’t have without taking this leap. 

Podcast Feature

References:

10 music industry pros fueling the pop-punk revival behind the scenes (2021) Altpress.com. Available at: https://www.altpress.com/features/music-industry-pros-pop-punk-revival/ 

Album review: Lil Lotus – ERRØR BØY (no date) Kerrang.com. Available at: https://www.kerrang.com/reviews/album-review-lil-lotus-error-boy/ 

Berkland, D. (no date) Androcentrism and misogyny in late twentieth century rock music, Core.ac.uk. Available at: https://core.ac.uk/download/pdf/145050367.pdf 

Boas, S. (2020) Boas: Pop punk has a diversity problem, Northbynorthwestern.com. North by Northwestern. Available at: https://northbynorthwestern.com/boas-pop-punk-has-a-diversity-problem/ 

Davis, J. R. (2006) “Growing up punk: Negotiating aging identity in a local music scene,” Symbolic interaction, 29(1), pp. 63–69.

FQS (no date) View of autoethnography: An overview, Qualitative-research.net. Available at: https://www.qualitative-research.net/index.php/fqs/article/view/1589/3095 

From Lil peep to paramore, Emo and rap have been related for years (no date) Kerrang.com. Available at: https://www.kerrang.com/features/from-lil-peep-to-paramore-emo-and-rap-have-been-related-for-years/ 

Gaponov, S. A. (no date) YOUTH SUBCULTURE, Sfu-kras.ru. Available at: http://elib.sfu-kras.ru/bitstream/handle/2311/4694/5201.pdf?sequence=1 

How Emo rap has redefined rock music (no date) Kerrang.com. Available at: https://www.kerrang.com/features/how-emo-rap-has-redefined-rock-music/ 

Kay, B. (2012) History of pop-punk music with timeline, Spinditty. Available at: https://spinditty.com/industry/History-of-Pop-Punk-Music-with-Timeline 

The Art of Punk and the Punk Aesthetic (no date) Designobserver.com. Available at: https://designobserver.com/feature/the-art-of-punk-and-the-punk-aesthetic/36708 

The rise and popularity of mixed genre music (2015) Tremr.com. Available at: https://www.tremr.com/michaelab/the-rise-and-popularity-of-mixed-genre-music 

West, E. (2015) “where is your boy tonight?”: Misogyny in pop punk, Athena Talks. Available at: https://medium.com/athena-talks/where-is-your-boy-tonight-misogyny-in-pop-punk-669eccedc811 

yasminesumman (2021) Pop punk’s inevitable comeback – how the hell did it even survive?, Loudwire.com. Available at: https://loudwire.com/pop-punk-comeback-how-survive/ 

(No date) Researchgate.net. Available at: https://www.researchgate.net/publication/265416952_The_Aesthetics_of_Punk_Rock