Note: I'm writing this as someone who has watched the entire original series, Fire Walk With Me, The Missing Pieces, and The Return, as well as other features from Lynch's filmography (Lost Highway, Mulholland Drive, Elephant Man, Blue Velvet, Eraserhead); marked for spoilers now, do not proceed if you haven't seen them all. This is a longpost for Twin Peaks-obsessed nuts like me. One of the things that remains a statement of the original incarnation (and thus, a statement by being substituted with HD digital cameras in
The Return) is Twin Peaks's absolute mastery of the highly saturated 4:3 box TV aesthetic. I've heard Lynch was adamant the color palette not be corrected to a grittier, desaturated version when execs received the tapes. It's part of what's made so many iconic sequences and shots from the original run hallmarks of Tumblr and Instagram accounts aplenty. Twin Peaks came (and could be argued, ushered) on the precipice of a major shift in the television format. We would see the contemporary form of television media developed further with shows like The Sopranos in the HBO prime cable era, or The X-Files (no wonder Chris Carter plundered Twin Peaks's cast for his own attempt). As a marker for the end of the 80s and its preceding decades though, in many ways Twin Peaks to spoke to a form of TV largely since faded: soap operas and sitcoms and serials. It's part of why I loved the metatextual inclusion of the soap opera
Invitation to Love, allowing the show to reference its own stylized dramaturgy.
Jade & Emerald... Jade give two rides, hm? Very specifically, I find the series loves to riddle blue and red, like
one oni to another. Fire and water. Hot-cold (like the shivery feeling Audrey gets when she holds an ice cube on her bare skin for a long time). The red and blue on Mike's TP varsity letterman jacket could be the most striking and concise marriage of this dynamic pairing. Donna & Maddie dive into this in the season 2 opener, scheming at the Double R (docked points for the silly jailhouse seduction routine by Donna, though). Subtler in palette but more obvious in Americana, Major Briggs's omnipresent blue uniform incorporates red in his breast patch (and Don S. Davis's ruddy-warm complexion, imo) speaking to his inherent patriotism as part of the Air Force. On more than one occasion Big Ed is spotted with a red & blue flannel.
Much to be said about the pairing of Bobby & Mike, comparing to BOB & MIKE; MIKE saw the face of God, but Bobby is the one who saw the light in this duo. The flashing lights of a cop car. Dr. Jacoby's iconic 3D glasses-flavored shades (note that Jacoby and Ben both hailed from the Robert Wise-directed 1961 film adaptation of
West Side Story, the famous 50s musical depicting rival gangs experiencing a Romeo & Juliet plot amidst culture clash in NYC). Lil the Dancer, communicating through expressive dance a coded message in FWWM. A barbershop quartet in the background behind Coop & Albert in "Coma".
I believe it's The Secret History of Twin Peaks book that is paired with red and blue filter lenses, so you can view certain hidden information? Either way, Lynch likes his 50s/60s Americana; reminds me of Castle Horror gimmicks. The blue flower was a central Romanticism symbol; as blue roses don't occur in nature, they hold an air of mystery and fantastic possibility. Tennessee Williams used the blue rose to symbolize the fragile & unique character Laura(!!) in The Glass Menagerie. The sign outside One-Eye Jack's. Red pairs often with green or black in gambling/casino situations; from the card deck motif for the sex workers to the mix-match patches of a roulette wheel. The malfunctioning lift for Leo in "The Orchid's Curse." The stage behind Julee Cruise during Roadhouse performances, especially "Lonely Souls." Even though the Red Room is known for its red, we see eventually that the Lodge holds strobing blue lights and the milky cataracts of doppelgangers. In a more peaceful sense, blue light washes over Laura as she smiles in the Lodge at the end of FWWM, reunited finally with her angel.
You can practically hear the buzz of the neon zapping into life from here. Knowing how important electricity is to Twin Peaks, these little details really stand out. Ben and Jerry, at various times, switch between the two to complement each other much like the
Miser Brothers. We also see it in Ben's interactions with Catherine; their affair in "Traces to Nowhere" finds Catherine clad in a powdery blue blanket, Ben's fiery tie, Catherine's ruby toenails (sidenote: not a fan of the Tarantino interaction). We see more of this Ben-Catherine color scheme in "Cooper's Dreams" during the Iceland convention with Leland's impromptu dancefloor breakdown. Ben, as central locus for Twin Peaks's criminal element, seems to be a lightning pole for these color dynamics. Notable is his integral need as a character to keep his publicly clean image and seedy underworld dealings separate, the perfect human symbol for Lynch's sequence in
Blue Velvet's intro depicting the rotting & squirming insects buried beneath the idyllic Levittown surface of Lumberton. And Ben, even beyond his perennial cigar, enjoys many scenes by the fire of a hearth.
Ben floats through the two by himself on a regular basis, which I think ties into his role as the uber 80s corporate & cold American businessman, espousing social niceties & charm but hiding his sinister and impulsive skeletons in the closet. It's almost like he should be Lodge, but he's only run parallel to it as a human being. Likewise, when it comes to the Lodge, BOB and the Man from Another Place/The Arm make a perfect red-blue pair. I noticed this especially in FWWM during the chaotic
convenience store sequence. Given that during the night the sky can range from black as a cup of Coop's coffee to a Prussian shade, by following a
Goethe color theory mindset, we can admit "
Blue is a darkness weakened by light." BOB never comes off weak, but as a possessing spirit, for the viewer, his sudden appearances/reveals herald a (at times literal) spotlight into the
black oil that is his essence (follow this link for a Youtube vid that informed some of my own theories). Goethe characterizes blue as common (think of country folk and bikers and truckers), as well as cold and melancholy, powerful. Red is much easier for The Arm; in addition to evoking the Christian iconography of a devilish imp figure, he is pure fire, the kind that truly walks with you (Goethe considers red as beautiful, dignified, closer to the essence of light; perhaps this echoes the Neoclassical Venus statue found often with Red Room curtains, or the red lipstick of the various beautiful women commonly prey to Twin Peaks).
BOB's always clad in blue denim to match The Arm's impish red suit. Noticeable since they remain the two most active agents as Lodge creatures, continuing the BOB/MIKE dualism that existed pre-show. Given the only color left to throw in is white (HMM,, White Lodge?
Sarah's pale horse? Leland's hair? The stuffed arctic fox in Ben's office? That weird long-faced elk thing at the Packard-Martell house? Pete and Coop enjoying/trying to order a mug of milk? The Tremond/Chalfont boy's white mask?) and you have the Star-Spangled Banner itself (the mini-flag at Twin Peaks Sheriff's office that flanks Coop while he's sitting across the table from Dr. Jacoby, as well as Coop's fixation on the full-sized incarnation while he's in the Bros. Fusco's office during his Dougie stint in
The Return, are just two instances). Notable as a tri-color national aesthetic, red white & blue sometimes finds its way back in altered forms: straightforward visual representation with the
Icelandic investors, as well as more tonally & artistically-derived influence from Lynch's
favorite country (we'll forget the agonizing French hookup leaving scene from
The Return and think more of Monica Bellucci's dream sequence, or Ben & Jerry orgasming over fresh baguettes with brie).
Great shot from Tim Hunter here. Part 9, \"This is the chair.\" I remember this sequence being a spark of sorts, tantalizing to see Coop stir somewhat from his Dougie stupor. While it should come as no surprise an American show would have many American-specific themes, I'm often convinced that Lynch is using the visual shorthand to simultaneously sing, criticize, celebrate, and reflect on what it means to be America. It is not coincidence that Dale Bartholomew Cooper's name reflects the notorious Pacific Northwest hijacker D.B. Cooper, or Harry Truman with the 33rd President (who, mind you, ordered the atomic bombs dropped in WWII). Or Franklin "Frank" Truman with the 32nd, for that matter. Coop openly ponders the Kennedy assassination (itself rife for conspiracy theories and speculation, much like TP) in a log to Diane, as well as Marilyn Monroe's involvement with the family; who else is Laura Palmer but a hometown Monroe?
Much like D.B. Cooper, Coop took a historic leap. I would love to dig down deep and really review all of his work to understand more about Lynch's fixation on Lincoln (a portrait is in the Donna/James classroom when Laura's death is announced; a dramatic shot in
Blue Velvet fixates on Lincoln Street which divides the town's good/bad parts & has an antagonist by the name of Booth; the "Gotta light?" Woodsman in
The Return).
Now if someone could explain this connection... Dick says this right before the fire alarms go off and swamp Leland with water while BOB rams Leland's head in to break his last vessel and escape from justice. Why Lincoln? I refer to it as
The House Divided. Lincoln is one of the most recognizable presidents, partially due to his assassination (Kennedy echo), partially due to his role in the Civil War and how America resolved its most divisive internal conflict. He's emblematic of the Old America and the New America, slavery and post-slavery, secession and preservation. Somewhat like Republicans & Democrats, red v. blue. We know the toy Lincoln Logs, we hear the term Lincoln Lawyer, he's even one of the faces on Mt. Rushmore (referenced explicitly in
The Return - "There they are Albert, faces of stone"- as well as compositionally in "Cooper's Dreams"); given the existence of both a Black Lodge and White Lodge in mythos, I think it's safe to draw at least some broad comparison to black America and white America (as well as Windom Earle's fetish for chess). Even as a goofier entry during Season 2's decaying period, Ben's mental lapse into General Robert E. Lee and fixation on the Civil War (mirroring Johnny Horne's fixation with the indigenous headdress and colonist America) gives some meat to this motif. Although it's never quite outright verbalized in show, one gets the sense that America is inherently built on some original sins. The water in the well was poisoned before the Trinity test
Notable too for the context of having Hawk (Nez Perce) included in this recreation. Mt. Rushmore was originally a sacred place for the Lakota Sioux; its present condition is considered desecration to their culture. America in its current incarnation was founded on the genocide and forced relocation of its indigenous peoples; Twin Peaks is loaded with Native American patterns and imagery, i.e. The Great Northern. Note as well that red, by itself, can easily be tied to Twin Peaks's lifeforce, and by extension Lynch's entire repertoire. Fire. Red velvet curtains. Lipstick and nail polish. Blood. Pete's fisherman flannel. Audrey's heels, and her cherry trick. Norma's cherry pie. Log Lady's frames. "Let's rock" on Agent Desmond's car in FWWM. The women at One-Eye Jack's. The blooming roses peaking through white picket fences in
Blue Velvet. The vast majority of neon signage (The Roadhouse especially). The traffic light at Sparkwood & 21. Leo's ostentatious Corvette. The lifeline zigzags on the high school walls. MIKE, in Philip Gerard, is fond of red tops, connecting him directly with The Arm. Much is made of Twin Peaks's proximity to Canada in the original series; the corrupt Mountie during the internal investigation arc stands out. The balloons at Dougie's corporate plaza.
The Scarlet Letter. Lancelot Court, red door. Laura Palmer's Secret Diary.
Night time, my time. Red can be a carnal color, igniting passion, but also a warning to stop, turn back. Often we find it in the company of characters who have experienced a lot in Lynch's world, and not too much good. And blue too. Blue is much more sparing in Twin Peaks, to greater mystical effect.
Blue Rose. Laura's cold lips in the Pilot.
Blue Velvet. Isabella Rossellini's dramatic eyeshadow as Dorothy Vallens. The waitress outfits at the Double R Diner. Leo's button-down when Shelly shoots him. The light in the morgue as Hawk tails Philip Gerard. The lifeline zigzags on hospital monitors (how they spike with Ronette, how they fall flat when Leland strangles Jacques). Ronette is swaddled in soft blue blankets during the S2 opener, her tilted head recalls
Marian imagery (interesting from a Madonna-Whore complex standpoint); two episodes later her IV drip is tainted with blue dye, a visit from BOB. Maddie Ferguson's nightgown during her carpet-stain vision. Coop's iconic jammies. Rita's blue key & Betty's blue box in
Mulholland Drive. The woman's hair at Club Silencio. Whenever television sets or camera footage shows up onscreen in Twin Peaks, there's a noticeable cool blue tint: think of that first tape, Laura & Donna dancing in the woods; the static showcased in the opening credits to FWWM; the footage of Coop gambling, obsessed over by Jean Renault. Gordon & Albert speaking together after meeting with Mr. C and watching Tammy walk away. Flashes of lightning. The sign at the Luna Lounge, where Fred Madison plays his discordant sax solo in
Lost Highway. Two dead girls wash up in the water. Calhoun Memorial's morgue stays bathed in blue light. Louise Bourgeois claimed it as hallmark, stating blue left behind \"the drabness of day-to-day reality\" for \"a world of freedom\", inner truths. BOB is certainly free. Beyond red and blue, the colors I tend to notice in Twin Peaks are pink and green (notable for following a warm/cool polarization as well), which do not concern themselves to the same extent with Americana, if at all. Pink is much more sparse in its application, typically feminine: Nadine's prom dress during her suicide attempt in the S1 finale; Naido/Diane's bathrobe in
The Return; the drapes behind the new One-Eyed Jack's girl Ben sleeps with in "Zen" (purposefully designed to evoke a vagina, in my opinion); fudging into purple, but we can count the Mauve Zone and Coop's run-in with Naido to an extent; Gersten Hayward's princess outfit during her piano performance for the Palmers; the trio of Candie, Mandie & Sandie; the gut-churning Pink Room sequence from FWWM with Laura & Donna.
Candie was a surprising standout for The Return. I felt these girls were a commentary on One-Eyed Jack's in the way the Mitchum Bros. were commentary on Ben & Jerry; where Ben & Jerry enjoyed public acceptance but indulged in dark secrets and ran through vulnerable sex workers, Bradley & Rodney have a dark reputation/entrance but ultimately possess hearts of gold, rescuing at-risk women like these three. Green is more expansively utilized, and supernatural in tone: the billowing leaves of those Douglas firs in an ominous breeze; the iconic Twin Peaks font's outline; the guiding light we see through Dougie's eyes (which I assume has always been a part of Coop's psyche and intuition); Dougie's iconic oversized jacket; the infamous Owl Cave ring; the vintage lampshade adorning Ben's desk; the childhood bike Ben fondly recalls in
The Return; the framed picture of the tall pine in the Sheriff's Department lobby; the tiny fir stuffed by the partition in the Palmer household; Jade & Emerald, even. Ben says to Leo, conspiring to burn the mill in "The One-Armed Man" -
"Three nights, Leo. Green light." Something about it reminds me of Jay Gatsby's over-analyzed yearning green light from the F. Scott Fitzgerald classic; the idea of the American Dream with wanton capitalism, and how it's impossible to achieve (am I crazy for thinking there's a connection between Big Ed's Gas Farm's neon egg sign and the West Egg/East Egg class divide?).
Of course, the owls are watching. Much like the eyes of Dr. T.J. Eckleburg. Ed's business harkens to how convenience stores (early-to-mid-century modernist American consumerism) were both the pumping blood and desiccated bone of our culture, as well as the Woodsmen womb. It also reminds me of old-style egg timers, and what is Twin Peaks but a show obsessed with the manipulation and perception of time? Was it the chicken or the egg that came first? Is it future or is it past? By the time of
The Return, we have lost these overly saturated tones, but the direct symbolic use of color is still integral to a Peaks viewing. I find it even more interesting that
The Return made extensive use of black & white footage.
Eraserhead and
The Elephant Man alike (I've found both hold the spores for concepts and aesthetics fully developed in Lynch's later filmography, like the chevron Lodge floor pattern we all dearly love) were filmed in this manner; I feel Lynch chose this as nod to this earlier work, as well as the old formats of pre-color TV and film, like WWII newsreels. I find it relevant as well that older generations
dream in black & white, a vanishing phenomenon which is directly related to the media of their era. B&W film informed the visual rhetoric of their unconscious minds; we, as younger Americans, dream in Technicolor.
This is the first shot we see of The Elephant Man. Notice how this is specifically his left arm, hand floating over the flame. Later in the film during a particularly moving sequence, Merrick first proves he is capable of speech for the first time by reciting the 23rd Psalm in a louder and louder tone, mirroring Annie Blackburn's prayers while Windom Earle led her bound into the Lodge. The black & white sequences occur within the Lodge, relate directly to the Lodge - may Part 8 live forever in its atomic power - or otherwise involve unexplained phenomena (Cole's Monica Bellucci dream). By the time of
The Return, a disconnect with the past and nostalgia is a core theme. The colors have faded. Coop, a half-baked shadow of himself, only gets restored by the chance mention of Gordon Cole's name in
Sunset Blvd. Note Billy Wilder's 1950 film revolves around an aging actress lost in the reverie of her long-gone prime. (Also note her insistence, when William Holden's character asks her about the Salome film script, she's not conducting a "comeback" but a *return*; this, I feel, ties in as well to Major Briggs's
underappreciated vision scene, emphasizing the idea of a return.) Although not shot in black & white, Pete, assisting Catherine as she tears apart their library, pauses for a moment during "The Last Evening" to linger on his high school yearbook. He's lost in the old pre-color photos, in the memory of Midge Jones, a man we never know. He's returned to a place in his youth, much like Garland's return to the gleaming, radiant marble of the fantastic palazzo in his S2 vision.
These two live in a retro-futurist Art Deco fever dream, accompanied the very appropriate Slow 30s Room soundtrack piece. Everything about the Fireman & Senorita Dido tells me of an America past its prime. I'm also convinced this was what Lynch envisioned for Briggs's palazzo; if only Don S. Davis was alive for The Return. There's a plethora more I could get into, definitely for another thread: the preoccupation with trinities, animals, rings, technology, fine art references, and sonic elements are on my mind as well. I need to rewatch
The Return again soon so more connections and thoughts are present. Let me know if you guys enjoyed this rambling mess!
submitted by
https://preview.redd.it/z45fsq17ce221.jpg?width=953&format=pjpg&auto=webp&s=49131fb1d1aeb49fee7c8b1a781c106b0172d877
“I can't believe this is my eighth studio album and I know I keep telling you that it is my most personal record yet, but its true and I'm really proud of that”
This
quote from
The Legendary Miss Britney Spears would most likely haunt her for the rest of the career, especially because it came in the eve of the release of her infamous 2013 album
Britney Jean, whose title anticipated a rare introspective look into a star with over a decade on the spotlight (most of the times for the wrong reasons)… also, it came right after her previous album, 2011’s
Femme Fatale, became her first full-length effort without any songwriting input from the Princess of Pop, although a Japanese bonus track features a co-writing credit from her.
Of course
Britney Jean deserves most of the criticism it receives and yet, it also deserves way more than just being outright ignored even by most of Britney’s diehard fans:
Britney Jean is more than just
Work Bitch and 13 b-sides, is more than Brit’s most dated-on-arrival release… Britney Jean is a case study of what was pop in its time, what changed and why it stopped being as popular as it once was….
POP BEFORE BRITNEY JEAN
https://preview.redd.it/p5ecdbd9ce221.png?width=1500&format=png&auto=webp&s=d0662fd24b364cf6cf25b1961e9d15f98d9d39b6
Early 00s pop music was being left aside by the general public during the heydays of gangsta rap, Timbaland/Pharrell-infused R&B and rock/nu-metal… at least until around the period between 2007 and 2009, the start of the Golden Era for
popheads: The anthemic choruses, the prominent synths, the light and care-free nature of the lyrics, everything was there to pump you up and make you dance… however everything would change in 2013, when streaming was finally introduced to the Billboard formula. After the satirical K-pop track
Gangnam Style by Psy took the world by storm, it was noticed how in the United States the song was blocked from the top spot by the inconsequential
One More Night by Maroon 5, even if
Style had the lead in sales for most of the 12 weeks it stayed at the Top 10 (as you might have guessed, radio had something to do with that), pushing Billboard to update their methodology and
add streaming to the mix.
The first song that benefited from the change in the tracking methodology would prophetize what would come next for the charts in general:
Harlem Shake, a nearly-instrumental meme song debuted at the top spot and stayed there for 6 weeks total. Another novelty song, Ylvis’
The Fox (What Does The Fox Say?) would visit the Top 10 later in the year based on virality alone.
Although rap, indie music and more traditional pop music found their way during this year, the presence of outliers like Lorde’s
Royals, genre-defying tracks like Avicii’s
Wake Me Up! (a country/folk tinted EDM anthem) and Florida Georgia Lane’s
Cruise (considered the grandfather of the bro-country genre, made popular on pop radio thanks to a tackled-on rap feature by Nelly), and the aforementioned viral hits not only showed that general audiences were craving something new, but their success would pave the way for a big change in pop music.
BRITNEY BEFORE BRITNEY JEAN
"Sometimes you don't need to use words to go through what you need to go through, sometimes it's an emotion you need to feel when you dance, that you need to touch. And the only thing that can touch it is when you move a certain way."
Britney Spears on the For The Record documentary, one of the rare glimpses she gave us on her life before Britney Jean
Britney, of course, was partially a pioneer and a tail-rider of the maximalistic electro sound of the era,
as proven by the influence and cult following of what most people consider her magnum opus, or at least her more direct and honest album, 2007’s
Blackout, which is ironic considering that Britney only has two writing credits in the whole project and how even The Unstoppable Danja
called it ‘impersonal’.
After
Blackout, Britney would continue to ride the same sonic palette with her follow-up, 2008’s
Circus and then move onto
Femme Fatale, which, in spite of its “forward-thinking” nature (
as described by the label-appointed producer and current persona non grata Dr. Luke) and slick production, it was heavily criticized for its anonymity and lack of input of the singer in the record, which led to Britney to defend herself stating, rightfully, that she had
nothing to prove.
THE MAKING OF A PERSONAL ALBUM
https://preview.redd.it/tzfh8fqsce221.jpg?width=600&format=pjpg&auto=webp&s=2e7bf1a1a7f9469be632470e1d6bb53397ff2f62
The mastermind behind
Britney Jean was none other than hitmaker will.i.am, whose involvement on the record came as a surprise to no one given how they have collaborated twice at that point and get along really well (you can read more about it
in this post I made a couple of months ago), however, the Black Eyed Peas frontman doesn’t deserves all of the credit for the record as Britney herself decided that she would be more involved and had a pivotal role into the making of this record.
Although
the early stages of the album
pointed towards a more hip-hop release, will.i.am’s involvement and her chemistry with Britney put her forward into the recording and making of the album.
Realizing that she wanted a more straightforward release that wasn’t as bouncy and genre-hopping as her predecessors, Britney
searched with will.i.am a series of collaborators that could help her bring her ideas to life, as she didn’t wanted to sing impersonal songs that her team just happened to receive; this, unfortunately, ruled out the involvement of the Saint Patron of pop production Max Martin, although it relegated Dr. Luke to a sole bonus track so that’s a win in my book.
Britney Jean is her only release in which she’s credited as a co-writer in each track, including bonus tracks… her closest before that was
In The Zone in which 9 of the 14 (including bonus) tracks sported a Britney co-write.
THE PERKS OF BEING A PERSONAL ALBUM
I have been through a lot in the past few years and it has really inspired me to dig deeper and write songs that I think everyone can relate to […] I want to show you the different sides of Britney Spears.
I am a performer.
I am a Mom.
I am funny.
I am your friend!
I am Britney Jean.
Britney Jean Spears
Britney has never been the kind of performer that would pour her soul into her lyrics, and even have occasionally distanced her private life from her lyrics (she famously rejected the Timberlake-bashing
Sweet Dreams My LA Ex, later given to ex-S Club 7 member Rachel Stevens as her debut single), although in the few glimpses we have gotten from her real persona (the stunning
Everytime and the dubious
My Baby for example) have always leaved her fans with the idea of her getting more involved with the subject matter of the tracks… I mean, the exploration of fame in tracks like
Circus and
Piece of Me are great, but what about explorations of who is Britney?
Britney Jean is her first album released in her 30s, and after finally deciding to get this involved in the songwriting department 15 years into her singing career was no fluke: chalk it up to coincidence, to the fact that it was long due given her background (Britney had lived A LOT of unwanted stuff during her career, married twice, had two kids, survived the most public mental breakdown unimaginable and more while being one of the most successful female performers currently working… also, that year she had ended her engagement with her manager Jason Trawick) or to misogyny (if you wanna go there) but female singers seems to go personal and/or mature in their 30s, with some popular examples including Madonna’s
Like A Prayer (described by her as being "
about my mother, my father, and bonds with my family"), Mariah Carey’s post-divorce genre-bender
Butterfly (if her birth year is believed to be 1969), Beyoncé’s whole post-Matthew Knowles era (
4 was released three months before she turned 30), Nicki Minaj’s back-to-my-roots release
The Pinkprint and Katy Perry’s purposeful woke pop release
Witness (Katy, I love you but 💀) among others.
Another thing to consider is that doing “personal” songs have always being interpreted as tracks with stripped-away or piano-driven arrangement, something that Britney, who had sung about being on the club or having sex (or even both on the same track) so many times it kinda become her trademark, is not something she’s might get allowed to do, especially when the current-at-the-time pop scene and Britney’s then-current sound were a far cry from the kind of sound these “confessional” tell-all songs normally have.
#BritneyPleaseSavePopMusic
(this was a real hashtag that was worldwide trending topic on Twitter in September 2013) With the anticipation of what a Britney-fied personal record would sound like, anticipation was in an all-time high among fans… so it was natural that her most introspective record would be anchored with an EDM song called
Work Bitch. In Britney’s defense, will.i.am pointed out
almost immediately how the braggadocio track didn’t represented the album but it was rather about Britney Spears herself.
Promoted with what was heavily
rumored to be a 6.5-million-dollars budgeted video which was
supposedly heavily sanitized from its originally sexed-up original version (more on that later), the video itself represented most of the promotion the whole album received, as the album’s second and final single (
Perfume) was left to rot in negligence after the album’s release.
Outside of a couple of TV appearances (not performances, just interviews), including one to promote her then-upcoming “2-year” Las Vegas residency Britney Spears: Piece of Me, and an E! documentary about the making-of the album and said residency, no actual promotion took place for Britney Jean, which led to the inevitable.
BRITNEY UNLEASHES HER MOST “PERSONAL” ALBUM
https://i.redd.it/1no6q6iqce221.gif
Britney Jean was unleashed to the world on December 3rd of 2013, one day after the Princess’ birthday, and was a big commercial disappointment,
debuting at number 4 on Billboard with sales of 107,000 copies (a little bit more than a third of the sales of
Femme Fatale), even lower than those of her debut album
…Baby One More Time; 3 years after its release,
BJ had sold less in the United States than
FF in its opening week, although it was
eventually certified Gold by the RIAA… this February. Internationally, the release didn’t fare any better and debuted at record-low positions for her releases in most international markets, including missing the Top 30 in the UK.
As most of you already know, reviews we’re nasty all around, the worst of Britney’s career. Because of the
somewhat mean content of some of those reviews, I would instead resume what are the biggest perks critics had with the release:
- The album’s production (carried mostly by will.i.am protégé Anthony Preston, who hasn’t done anything ever since) was considered monotone, repetitive, dated, backward-thinking, overproduced and by-the-numbers. The album, full, on EDM beats and synthesizers, doesn’t really have that much of a breathing spot as there’s not that much of musical variety.
- Lyrically, the album was considered a disappointment considered its nature as a “personal album”, with the lyricism being considered somewhat superficial given the self-titled naming and Britney’s hype surrounding the content itself.
- Vocally, Britney Jean was ripped apart by critics and even some listeners. When the opening track’s autotune-less “warm up” vocal sessions leaked in 2014, critics complained about Britney’s (lack of) vocal talent and added fuel to the debate about wherever she’s actually talented at all, accusations that the song producer William Orbit dismissed.
SING A SONG OF SIXPENCE, MISS BRITNEY SPEARS
After one of the songs leaked ahead of the album’s release,
there were accusations that backing vocalist Myah Marie (who had appeared on Brit’s previous two albums) was the lead singer not only on said leaked track but also in a large portion of the album (
this is what she sounds like), accusations that Marie
herself denied as well as Britney’s reps.
Her representatives claimed that Marie wasn’t involved in neither
Perfume nor
Passenger, the tracks that were
the source of most of the controversy, and ultimately she wasn’t credited in none of those songs, although she’s credited as a (not background) vocalist in several of the other tracks of the album (mostly the Preston-produced songs as
Work Bitch,
Tik Tik Boom,
Til It's Gone,
Chillin' With You and
Now That I Found You), including
Alien (in which she’s not credited), who
had a vocal steam leak in 2014 which showcases how uncanny is Myah’s
impression of Britney is. A credited background singer is Sia in her co-composed single
Perfume, which was the source of a weird misstep when Britney was caught lip-syncing to a version of the song with
Sia’s vocals forefront in the mix.
A lot has been said about how
Britney’s signature singing ‘baby’ voice is not her real one, how do
they compare and
how much damage has done to Brit’s current vocal chops, and even though she
can still sing wherever she wants to, it’s quite obvious that she’s not that comfortable with it and, as such, she prefers to enhance her voice with the use of technology and some studio trickery… also, she might have gotten used to it considering how effortless and vivid were her earlier performances…
here’s I’m A Slave 4 U at the 2001 VMAs just because how iconic it is.
BRITNEY JEAN… BY BRITNEY JEAN SPEARS
"People can take everything away from you, but they can never take away your truth.
The question is: Can you handle mine?"
Britney Spears in a song that’s not from this album and not originally from her
Described by critics as “
a concept album about the loneliness of pop life”,
Britney Jean actually open with quite a promise with
Alien, a mid-tempo, melancholic, airy, ethereal dance pop opener that works as a more teenage-sounding version of
Ray of Light, which is not surprising considering the involvement of said album’s mastermind (the aforementioned William Orbit) and that sonically picks-up where
FF closer
Criminal left off, but lyrically is quite different, as it portrays Britney having an intimate and personal realization that she, after years of tumultuous and erratic events, has lost grip of who she was and how she felt like an extraterrestrial in her own world; however she realizes that she’s not longer alone as she looks at the glow in the stars as a light to guide her home away from her insecurities of the past, and to feel safe and finally finding comfort in her true skin, as the chorus repeats the catchphrase ‘
not alone’ “
until it is pitchshifted up like a departing space ship”
Originally intended to include Gaga in the song (and also
supposed to be released as a single, which unfortunately didn’t happened),
Alien was considered the conceptual and musical highlight of the project by critics, and is easily the most personal, vulnerable and my personal highlight of the project… which made everything that came afterward a hard pill to swallow. Before that, I can’t help to mention THE GLITCH (
2:14 in the song), which was
apparently, as everything wrong with music of the period, will.i.am’s fault.
https://preview.redd.it/sqy5pdvjce221.jpg?width=1200&format=pjpg&auto=webp&s=fc818c3624856731e041c2380840004b0c8edea6
Work Bitch (alternatively known in censored form as
Work Work, or in the explicit version as
Bitch Bitch) is a hard hitting EDM smasher and heavy mood-whiplash, which was definitely
not co-written by Sebastian Ingrosso, in which Britney gently asks us (over a basic club beat which grows more overloaded as the song moves forward) is we want a hot body, an European luxury car (either a
Bugatti, a
Maserati or a
Lambo skirrt skirrt skirrt) or to sip martinis while partying in a big mansion in France, only to disappoint us by calling us bitches and telling us to better work as if we were supermodels and
she was RuPaul.
WB is, if
you wanna practice some mental gymnastics, more ‘personal’ than its given credit for, as Britney details how much benefits she gets from hustling all these years, and inviting us to dance with that smashing wall-of-sound-laden beat that drowns most of the track. Way more forward-thinking and exciting that everything that comes after it,
WB has become somewhat of a new classic for the Princess of Pop, and is pretty much deserved of said designation.
Perfume, co-written by Sia, is another album highlight (
actually Britney’s favorite from the album) and one of the finest ballads of Brit’s late-catalogue. Written about her ex-fiancé Jason Trawick, the song deals with Britney’s insecurity about a current relationship, with Britney singing with some of her strongest vocals in years about how she believes that her partner is cheating on her and how she puts on her perfume in order to mark her territory. Released with a tie-in with her perfume Fantasy, the song kinda flopped worldwide and halted all of the promotion of the album, however it still remains (alongside the rawer
Dreaming Mix, included as a bonus track) as one of the most interesting songs in 2010s Britney catalogue.
The music video, directed by known troll and middling talented videomaker Joseph Khan, has an unreleased director’s cut in which the straightforward concept of a cheating partner
is changed to that of Britney playing the Angelina Jolie role in a gone-wrong version of
Mr. and Mrs. Smith sans the boyfriend who is also an assassin.
It Should Be Easy finds Britney’s voice drown in both the auto-tune setting used by Kanye for the
Runaway coda and the vocals of guest-star will.i.am in the chorus, all while produceco-writer David Guetta rehashes Swedish House Mafia (which originally broke up the same year in which
BJ was released). The song, about Britney imagining a bright-normal-future with a man who had stolen her heart, stating that love “
shouldn't be complicated”. Although I like this song, and her team obviously likes it to as it commissioned remixes to be serviced to clubs, it signals when things start to go somewhat downhill.
Tik Tik Boom, the T.I.-assisted fifth track, was always dubbed as a potential third single (remixes were commissioned but nothing official ever came up), and it’s not hard to see why: as one of her rare collaborations with a rapper, the static-y, dance-floor ready production presents Britney teasing a male partner with a night of… well… tik tik boom… that means sex, doing so while serving some circa-2001 sexy vocals as T.I. raps about treating her like an animal up to the point that PETA (
which hates Britney) should be called in response. It’s fast, it’s straightforward and yet, it’s kinda forgettable and also very disappointing coming from or Princess Urbanney.
Guetta comes back with
Body Ache, another outdated EDM bop in which Brit (accompanied by vocoder and several dozens of vocal distortion treatments) sings about the kind of ‘I wanna dance so hard it gonna turn you on’ anthem which Miss Spears can do on her sleep, with a backtrack that sounds straight out of the EDM will.i.am was doing with the Peas during the Beginning/E.N.D. era. Also it ends in a somewhat anticlimactic way.
Personal Britney makes a return with this track that wouldn’t be too out of place in
FF: The Guetta co-written
Til It’s Gone, in which Brit realizes that, after losing the love of her life (Trawick), her life would never be the same, or how “
you never know what you got 'til it's gone”. Coming some two years to late sonically, in terms of lyrics the track it’s another story, as some interesting imagery pops here and there and it’s nice to leave the dance floor behind, especially when talking about a woman who (at least in the previous albums) rarely shut up about them.
Katy Perry arrives on the record but not as a feature, but as a writer, in the Diplo-produced, Sia-co-written and
Prism outtake
Passenger, in which some interesting EDM beats moves out of the way after the opening (they come back, don’t worry) to reveal a refreshing and very welcome electropop rock song with some great Britney vocals about letting someone to guide her after she’s willing to let herself be his ‘passenger’. Great lyrics, daring production, good vocal performance… it’s not hard to see why critics loved this track so much, and it’s a shame it gets buried among so much underwhelming stuff.
https://preview.redd.it/hkdoktqmce221.jpg?width=970&format=pjpg&auto=webp&s=b349cd2e99a44dc732760b6f131be7dc3be1da38
Chillin’ with You, the album’s most infamous moment, finds Britney dueting with her sister, ex-Nickelodeon star and attempted country singer Zoey Meredith Brooks, about hanging out together and drinking wine (Brit likes red, Chase Matthews' ex likes white wine) while, as the southern white suburban moms they are, they feel they have nothing else to worry about. Although the lyrics are… well… cute, and the subject matter is decidedly novel by Britney’s standards, the mixture of country and EDM doesn’t mash as well as the producers might had expected… also, the fact that their vocals were so obviously recorded in different sessions (as showed by the kind of chemistry you only see
in cheesy 70s movies starring John Travolta and Lily Tomlin) makes the whole ordeal so surreal.
The album closer in the standard edition is
Don’t Cry, a FUCK YOU MR. TRAWICK song in which Britney reassures his man that it’s not worthy to cry as their relationship was always directed to end no matter what they do, and how she’s gonna go to not see him all tear eyed. The bouncy but subdued dubstep back track by pop goblin and producer will.i.am enhances what is arguably Britney’s best vocals in the whole album and some really nice lyrics which still doesn’t work as an album closer.
Sia comes back in the first bonus track of the deluxe edition,
Brightest Morning Star, and she brings with her current pop Pariah (that would be Dr. Luke, but he’s only in this track) to the mix, on a
track about God (or
maybe about her kids, according to Dr. Puke), or at least one that implies to be one; in Sia’s words: ‘
Britney was extremely sweet. She came in with the title ‘Brightest Morning Star’ and told me that’s how Jesus found his way. She wanted to write a kind of gospel song that wasn’t ramming it down your throat’. Despite the good intentions,
BGS is no
Jesus Walks and it gets short in the musical department, with a surprisingly weak instrumental which doesn’t do any good service to the song.
Britney continues her religious quest with
Hold on Tight, a mid-tempo ballad that in which Miss Spears details how God comes into her dreams (or it might be an
Incubus?) showing her the path to righteousness, even when the road is not as friendly with her, and… to be honest, this is my least favorite song on the album, it’s just so forgettable even if it’s quite refreshing in the context of
BJ.
To end the evening, Britney continues her unintentional audition to become a gospel singer with
Now That I Found You, a shameless EDM track (with early-10s euphoric drop and everything) about how incomplete she was until she found Him (to be honest, this could also be another love song, but after two bonus tracks about God it’s easy to see where she was pointing towards with the vague lyrics) and how everything is better now. Unlike the forgettable predecessors,
NTIFY is fun (dated? Sure… but also fun), it’s bright, it’s colorful, it’s happy, and one of my favorite songs on the record… even if co-writer Guetta basically ripped off his own hit
Without You from 3 years before.
u/radiofan15’s UNWANTED OPINION ABOUT BRITNEY JEAN
Britney Jean is not an autobiography, it’s not a tell-all gossip-venting machine, it’s a clean, overproduced product of misdirection and lack of focus… and yet it’s actually fascinating in several ways: it’s arguably the greatest resume you would find of how pop music sounded in between 2008 and 2013, it’s a great bridge between the impersonal heavily-polished
Femme Fatale and the serviceable and engaging
Glory, which saw Britney leading the way on how everything would sound from the start.
It’s quite ironic how the album’s naming (taking a cue from Janet Jackson’s
Damita Jo, her actual middle name) plays against it, as self-titled releases (unless they are debut albums) are associated with being in control of your output or reinventions (pop examples includes
Paramore as their first release as a trio,
Beyoncé to fit the minimalistic sounds and Janet Jackson’s
janet. to showcase independence from the Jackson family) and unless you’re Led Zeppelin, Peter Gabriel or Weezer, the idea of having a second eponymous release usually means that audiences should expect to experience the performer in a never-seen before way. 2001’s
Britney was the album that give a meaning to the phrase “
I’m not that innocent” spurred in her previous effort, with lyrics talking about womanhood and sexuality being complemented with R&B vibes and rock/hip-hop elements.
Britney Jean, when compared to
Femme Fatale, is way behind the difference between
Britney and
Oops!... I Did It Again, which in retrospective is even worse as the relative freshness and reinvention of
Glory leaves the ‘openness’ and ‘variety’ of
BJ in shambles.
One of the album’s biggest mistakes is in its sequencing: the first three tracks are the obvious highlights, the next three are basically DOA EDM songs, the next four are the most “adventurous” musically speaking and the bonus tracks are all about God. Taking out some of the ‘pure club’ anthems could theoretically create an album more deserving of its ‘personal’ label, going full Spinal Tap and amp up the production values to do something crazier might have given us something that was at least digestible in a single listening.
The album, as it is, is not perfect, but it’s far from the dumpster fire more people called it, including some of the most interesting Britney songwriting in years (or even her career) and some tracks that are already started to show signs of cult classic. The only positive thing most people seems to agree with is how short it is: with the alternative mix of
Perfume included,
BJ is ‘only’ 50 minutes long (the standard edition is just 36 minutes long), which is something most performers (even today) seems to struggle with.
Also, she didn’t came to play games with the art cover and aesthetics this era, the album cover and the booklet is her most gorgeous to date, with the former having her most flattering front picture of any of her albums and the neon typography creating a very pleasing contrast with her elegant black-and-white imagery (in the deluxe edition) or the elegantly, milky pastel coloring of the standard edition.
THERE CAN BE 100 LISTENERS IN THE ROOM AND 99 LEAVE BUT ONE... - BRITNEY JEAN THE DAY IT DEBUTED
https://preview.redd.it/hpjl86hfce221.jpg?width=1024&format=pjpg&auto=webp&s=a01c8129a31203474b2bafbc17ea994d5f83e132
Britney and her team gave up quite easily on
Britney Jean and, honestly, they shouldn’t be blamed: the offer to have a Vegas Residency with
a salary of $15 million dollars per year seems like the kind of offer a pop star and mother of two with enough money already for several timelines would accept, with the album itself being more of an afterthought.
Britney was originally slated to remain on the Planet Hollywood Resort & Casino for two years but ultimately extended her run for another two years, before finally touring overseas (without an album attached to the performances) during 2017 and 2018.
Because of the lack of promotion,
Britney Jean underperformed when compared to Miss Spears’ previous releases, with estimated worldwide sales (as of April 2018) being close to 1.3 million copies, less than a third of
Femme Fatale’s sales.
Truth be told,
BJ flopped hard… HOWEVER, not everything would have turned out that terrible (not even in a million years it would have sold as much a
FF but at least the downfall could have been smaller) with some actual promotion and interest from Brit herself.
SOME REACHING… I MEAN… THE SIGNIFICANCE OF BRITNEY JEAN
BJ is, in my opinion, a compilation of the era, the resume of “in the previous episode of” that you get on serialized TV shows, a farewell to the bombastic era of synth-heavy EDM club anthems with gratuitous drops and interchangeable lyrics. During the genre’s opus, some performers tried to bend this sound (and their equivalents) to their benefit, either mixing it with their style or playing with the boundaries of the sound: it could be a Taylor Swift doing a
We Are Never Getting Back Together to get a broad crossover hit, a Lady Gaga mixing multiple genres to create a sonically complex pastiche called
Born This Way, or even straight-up jumping almost seamlessly from rap/R&B to club bangers like Nicki Minaj did in
Roman Reloaded. Britney in
Britney Jean did almost the opposite of that.
Britney Jean is, in some ways, a time capsule of the era in its rawest and purest form (some might differ and replace those buzzwords with generic and bland), with the average user being able to trace mostly any track to a style, influence, sub-genre or even performer. Listening to
BJ is like watching a 70s movie in VHS in an old, square TV, basically an
unintentional period piece that reflects the volatile, bombastic and extravagant style of those golden years of 2008-2013, which, within the mindset of
Britney Jean sounds kinda tired and bland, surprising no one when that branch of pop went back into obscurity and irrelevance almost as fast as grunge music did when Kurt Cobain died.
Britney Jean came up in a time of transition of popular music, with streaming showing the kind of power it had on the charts and more subdued, minimalistic music taking the world by storm. Popular music, as you might already noticed, evolved into a slower, more melodic, calculated, numb, almost anticlimatic entity which was more fitting with our current social and political climate. To
paraphrase Todd in the Shadows: 2013 had a hit literally called
Happy and 2018 had both a hit called
SAD! and another called
Happier with a video about a dog that dies.
In terms of Britneyology (both the study of Britney Spears and the religion dedicated to her persona),
BJ is also a glimpse into Britney the full-fledged artist. Britney has never been the kind of performer that gets heavily involved into her music, with Britney’s role being generally limited to the choice of songs, sequencing, development of sounds and themes with her assigned team of writers and producers, and performing of course; sometimes Britney gets involved into the heavier portions of her music (the classic
Everytime is a great example of it) but most of the time she remains quite anonymous, with her voice and choice being overwritten by the men on charge, something that became quite apparent during and after the Dark Ages (2004-2008) with the cancelling of the legendary
Original Doll, her lack of songwriting credits in both Blackout and Circus, and her much-criticized anonymity in
Femme Fatale.
BJ was Britney deciding who does want to work with, what does she wants to sing and even how to equilibrate her musical and visual persona. Britney has always being in control of how is she portrayed on official media, most famously rejecting an animated concept for the video of …Baby One More Time in favor of a Lolita-inspired take on catholic school girls, and then the slow process from jailbait to grownup woman. During the post-production of the Work Bitch video,
she clashed with director Ben Mor over the kind of content the video should show, as she was a mother in her 30s now instead of an unreachable male gaze fantasy.
With
BJ, the Legendary Miss Britney Spears showed us how much she has changed since that controversial 2003/2004 period (the last time she was that involved with an album) in which she received the Kiss of Death from Madonna, suffered her infamous accident and, of course, married twice in a calendar year. This new Britney was a much-different person, and her voice deserved to be heard, and even if the results weren’t the greatest, it was a step into the right director for Britney to get what she always wanted: being a full-fledged artist capable of taking her own decisions and learning from her mistakes.
POP AFTER BRITNEY JEAN
https://preview.redd.it/382f3hucce221.png?width=1500&format=png&auto=webp&s=b270179e2de3c085b7dd38ea838588f2f45d9e4b Coincidentally in 2014 most of the ambassadors of the dominant pop sound of the early 10s were either taking a musical break, flopping or changing lanes, so that year paved the way for the transition of what do we define as popular music, with the winners of the evolution race being trap (Fetty Wap’s
Trap Queen), meme music from awful people (Bobby Shmurda’s
Hot Nathans) or untalented losers (T-Wayne’s
Nasty Freestyle, Silentó’s
Watch Me), trop pop (OMI’s
Cheerleader, Justin Bieber’s entire
Purpose era) or whatever outlier track dared to pass through those filters.
What happened afterwards is a horror story most of
popheads tells in fire camps a la Are You Afraid of the Dark?
BRITNEY AFTER BRITNEY JEAN
Glory , the follow-up
Britney Jean, received very positives reviews and was considered a strong return-to-form for Britney, and even if it wasn’t as successful as her label might have wanted, the truth is that, at the end of the day, whatever Britney decides to do next (and considering the direction she seems to be taking) it can be as underwhelming as
Britney Jean.
https://preview.redd.it/t7rph8g4ce221.png?width=500&format=png&auto=webp&s=0b8d0a459f5caed0d41c087c7658cce2e79f2210 [F Em C Dm Bb Am Ab G] Chords for Sonic the Hedgehog - Green Hill Zone (Smooth jazz cover) with capo transposer, play along with guitar, piano, ukulele & mandolin. 19 Sonic 2 Piano Redux- 2 Player VS- Casino Night Zone by Dr. Mack Foxx published on 2012-12-06T07:22:30Z. Users who liked this track podcrash1232. podcrash1232. Early Bird Nerd HD. Early Bird Nerd HD. Golden Salvador. Golden Salvador. Herobrine Player393. Herobrine Player393. Space Bunny. Elliott Winters. ClassicSonic99. Sonic The Hedgehog Casino Night Zone (Sonic 2) Sonic the Hedgehog Part 1; Part 2; Part 3; Part 4; Part 5 Download and print in PDF or MIDI free sheet music for Sonic The Hedgehog 2 - Casino Night Zone by Misc Computer Games arranged by Sveciaost for Piano (Solo) Piano Œαœœœœœ − α "CasinoNight Zone" Sonic the Hedgehog 2 Composition by Masato Nakamura Arrangement by E. Gadd Industries % > 21 2 "Casino Night Zone" Title: Sonic the Hedgehog 2 - Casino Night Zone Created Date: 2/6/2016 10:26:04 AM In this page you will find information and downloads about the musical theme known as "Casino Night Zone" from the Sega Genesis (SG) game "Sonic the Hedgehog 2". This is the background music of the fourth set of stages of the game. If you have problems downloading or opening the files, solve them here: How to Use this Website. Casino Night Zone (9) Game Name: Sonic the Hedgehog 2. md5sum: 50bebe0c3a4d222e659a02fff99b1c46. https://www.vgmusic.com/music/console/sega/genesis/Sonic_2_-_Casino Sonic 2 casino night zone piano Casino money native american Montecasino is a leisure and casino complex located at no1 montecasino re-staining and there is no regular maintenance every year or so. El faro inn – hostel in lima, peru Sonic 2 - Casino Night Zone (Jazzy Arranged Version) by Combo Breaker published on 2013-07-30T16:08:06Z A jazzy arrangement of the classic Casino Night Zone tune from Sonic 2 created by Mauricio Ibáñez and Camilo Bianchi in Santiago de Chile in 2009. High quality Piano sheet music for "Casino Night Zone" by Sonic the Hedgehog 2 (Piano). Download the PDF, print it and use our learning tools to master it.
Sonic 2: Casino Night Zone on piano Super catchy tune that's super fun to play. Sonic was one the first series that got me really hooked on game music and probably has influenced most of my sty... This was soooo fun to play. It's hard to tell but I was head-bopping the whole time. I did my own thing with the bass because it was just fun to do, so its n... 50+ videos Play all Mix - Sonic 2: Casino Night Zone 1 Player (Piano) YouTube Sonic music - Casino Night Zone theme (1-player) - Duration: 1:21. Vinheteiro 66,518 views Arranged and performed by Mr Bonus Stage.Music by Masato NakamuraThis jazzy number from Sonic 2 always makes me think of gambling for rings in the giant frui... My first video in over a year! I have practiced this song a TON for a while now. While still not perfect, I just had to get a recording up and let you guys k... Get the sheets, midi and more at http://www.ninsheetmusic.org/ , arranged and provided by E. Gadd Industries Want to request a song/tutorial from a game you ... Learn how to play Sonic the Hedgehog 2 - Casino Night Zone. A synthesia piano tutorial with Infinite Midi.More songs from Sonic the Hedgehog 2: https://www.y... Música da fase Casino Night Zone do game Sonic The Hedgehog 2 tocada no piano. Não se esqueça de avaliar o vídeo, compartilhar nas redes sociais e se inscrev... Learn how to play "Casino Night Zone" from Sonic the Hedgehog 2 by Masato Nakamura Watch the FULL Piano Tutorial, totally FREE (time-limited) Click Here: ...
