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Posts posted by sevendaughters

  1. I find it hard to assess Okada wrt those greats whose careers are done or very nearly done. Undeniably a HOF career already and has probably done more for NJPW worldwide than Tanahashi. Athletically impressive, crisp,  and we've seen him grow up in front of our eyes (remember how awkward his promos used to be?) He's had some incredible matches for sure and I look forward to where he's going as much as I enjoy thinking about what he's done. The whole dance around the Rainmaker has largely changed how matches are laid out and end these days (I remember when NJPW matches seemed to finish with an almost uncontested run of moves ending with a finisher and that was it).

    But I don't feel the same about him as I do or have done for Tanahashi, Shibata, or Kobashi. I find this a more reliable guide, ultimately.

    • Like 1

  2. the DAVEs for anyone who gives a fuck, which he caveats by saying he was watching from an exec box and hasn't seen on TV and may not ever

    Stardom tag 2.5
    Young Lions tag 2.5
    Old man tag 1.5
    Liger tag 2.75 ("The fans hated this finish")
    Suzukigun vs LIJ 2.75
    CHAOS vs Bullet Club 2.75
    Finlayjuice vs. GOD 3
    Moxley vs Archer 3.5
    Hiromu v Ospreay 5.25 ("This was the third best match in Tokyo Dome history at this point, although that only lasted about an hour")
    Naito v White 4.5
    Okada v Ibushi 5.5

    Gauntlet 6-man tag star ratings for each match: 1.5, 1.25, 2, 2.25
    Liger FINAL 3.5
    Jr Tag 3.5 ("Yoh put Sho's cup in his mouth to celebrate. You really don't know where that thing has been. Actually, now that I think about it, you do, which makes it even more unnerving.")
    Zack-Sanada 4
    Moxley-Juice 2.75
    Kenta-Goto 2.5 ("I want to make clear that most had this match far higher but where we were live it was dead. Evidently it was super hard hitting and in the Tokyo Dome that doesn’t mean as much.")
    White-Ibushi 3
    Jericho-Tanahashi 4.25
    Okada-Naito 4.75

    • Thanks 2

  3. interestingly - to my mind, at least - the G1 briefcase was a McGuffin to get us to the real weekend main event of Naito/Okada without the sigh of obviousness and feeling that it's all been done before. I doff my cap.

    I also feel Ibushi's double loss will be redeemed at some point.

    future directions all seem interesting. what are they going to do with Jay and Sanada? is this a faction thing?
    Kenta is a good first defence and now it looks like they were really just building him for this since the G1. poor Goto. now the bridesmaid's bridesmaid.

    as ever they have some megatalents just spinning their wheels in EVIL, Shingo, and Ishii. now Naito is on the double title you can't even see 2 of them making a token challenge. time to do something with the tags (this is my usage of this phrase in 2020, see you next year!)


  4. On 12/16/2019 at 12:24 PM, Lamp, broken circa 1988 said:

    Given the crushing existential dread that accompanies every experience I’ve ever had looking up anything about the English school system, I’m not going to go learn what “Stage School” means.


      Reveal hidden contents

    Well we’re at least starting there. Short intro phase establishing the rest of this song qualifies for that “records that get started thing.” I love the use of ‘You sure you wanna do this now” between the verse and the chorus. It’s such a specifically tense question that it curdles the song without having to change a second of the tone or key. The gradual introduction of instruments is nice but I feel it’s a bit rushed? Granted I’m into what I’m into, but I think they really could have put more into the moments before the instruments came in. It had a symphonic breeze in it and oops it ended already next song.

    This is very rote. I’ve been letting it go, trying to find something to grab onto. The bridge is really lush and beautiful but it feels like it’s from some other song with how different it is. The lyrics are the kind of non-specific stuff that has to be to make love songs palatable and damnit I promised not to rant about British music. Not yet.

    Oh boy. Okay yeah we gotta talk about the british music thing. A lot of British pop and rock just gets my hackles up because it feels exactly like you’d expect individualistic music from a caste society to come from. It’s perfected under threat of exile. The recipe says verse, chorus, verse, chorus, bridge, chorus, outro. The song is alloted one thing to stand out. Here, it’s the super-fast verse in the hook, and it’s also in the bridge in case you forgot what the gimmick was. This song is That: The Song.

    Okay, I waited the verse-chorus loop and I think the songwriting here is, while exactly the same structurally as the last song, is a more interesting selection of chords, and so that’s keeping me interested. This sounds like the song that the bridge from track 2 escaped from. The outro is also better off for structuring itself as an extention of the bridge instead of just a straight up reprisal of the chorus.

    Ballad time. This does nothing to change my opinion on ballads. Like, okay, I’ve tried to write a single ballad in my life, and it was explicitly as an extremely dark joke (you may be able to hear it next year, depending on the summer). I can’t put myself in the headspace to do that more than once. And yet there’s a world full of songwriters that are capable of writing these things with ease. Maybe it’s a gift.

    Oh god please don’t get slower after the ballad. Okay I’m gonna try to hone in on the lyricism because I feel like I’ve been ignoring the content of the songs because I’ve been so distracted by the roteness of the writing. Aaaand I’m not picking up on anything. The bridge is a good image (“Lady on fire / Waiting it out”) but the return to the chorus is jarring. It feels like a brief cameo from An Emotion.

    When I googled her this was one of the songs that come up. The lyrics in this are trying to thread a specific line and it doesn’t work for me at all. Specifically the line that soured me is “She wears short skirts so you don’t ask her if you can check her phone.” That the phone-check is just totally acceptable behavior makes my skin crawl. When the song transitions to “you’re falling for the same thing I did” it ends up changing the tone even worse. I actually had to take a break after this song to reread the lyrics and make absolutely sure I understood the song correctly and was more dispirited to learn that I had. The only thing that would ease me about this is seeing some hint that she was trying to write from the perspective of a character, or a demographic. Otherwise it sets off all my “abuse survivor” alarms.

    Yeah uh this record has shifted from making me uncomfortable on account of the industry-structured songwriting and into the context. Granted I tend to view breakups as less "split" and more "escape," so I'm struggling to understand the perspective of trying to talk to an ex. I'm also confused about "are her lungs made of steel so when she says she loves you, you forget how I made you feel?" I am trying to see the connection other than "More like made of STEAL haw haw" and I'm not getting it.

    more ballads. "Stay, let me explain why I act so mean."  I have very little positive to say about this song, other than "it's all brilliantly produced and perfectly in tune."

    I'm really struggling to find any of this positively relatable. Like at least there's sentiments in this song I've run into, right? I guess I feel put off by the weird friendzone-esque posturing of "you're good but I need bad," like it's not understood that attraction is completely random. The outro made me sigh. There are multiple things on this record that have been done before.

    Okay so the googles suggested that Jade Bird did some amount of Americana and it's all right here on this record apparently. It feels better than the last few songs rhythmically but I'm still too disquieted from the last few songs approach content-wise that I feel like I can't give this a fair shot. It all feels like trying to generalize a way-too-specific story and it ends up feeling like a justification.

    ENDING BALLAD. 😖 At least it's about death instead of some vague other kind of ending.

    = = =

    So, with a lot of records, I understand how a certain year can make a certain album feel like armor. I get how this could be someone's year. There's parts of it that make me really worried about what specifically was happening that year and like what they've been up to? But, I get it. And there's no complaints with the performances or the musicianship of anyone on this record. This is a lot of things I can't stand, but nothing that puts it in some kind of objective Bad category. I would just prefer to never hear this person again.

    great brutal review and also a stage school is basically what it sounds like: a private school at which aspirant actors, singers, dancers, etc. go to to have their talent nurtured away from the screaming riff-raff at a normal school. it generally pumps out soulless nobodies with odd exceptions.

  5. On 11/16/2019 at 3:18 AM, John E. Dynamite said:

    The utter transparency of Gedo booking via late-tour match placement is NJPW's biggest problem, I mean it. Other than not booking Zack/Taichi to win, of course.

    it's a problem for people like us who follow long-term storytelling (which I guess is not everyone, or even half of the people watching) but it does seem to help the houses. bit of a bind. you are right. last few years in G1 i look at Budokan/Sumo Hall and it's there.

  6. the less-than-ideal execution (you can't say it wasn't foreshadowed hugely, this not a swerve) says to me that there was a different plan that was axed along the way.

    tango to everyone on the stables thing. a couple of them need to die, pronto.

    i was reading my write up of G1 26 and apart from Jay White being on a push we're pretty much still the same as it was. EVIL and SANADA getting gatekeeper jobbed. Naito the bridesmaid. Ibushi will-he/won't-he. Something different lads. You have the talents at your disposal.

    • Like 2

  7. looks like a super show today, heard nothing but raves. watched the main angles and - and it's not a competition, enjoy all art if you like - it reminds me that when they turn on the angle tap/faucet they smash it harder than their contemporaries.

    • Like 1

  8. On 10/9/2019 at 11:50 AM, Control said:

    2019 WSTL teams:

    The Bomber (James and Doering)

    The End (Parrow and Odinson)

    Kento and Yuma

    Jake and Nomura

    Yoshitatsu and Joel Redman

    Valetta and Cyber Kong

    KAI and Tajiri

    Violent Giants 

    Zeus and Sai

    Sekimoto and Bodyguard


    how seriously do AJPW take the tag league these days? is it a holiday tour? cos that line up is great and i have free time coming up.

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