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shelovescontrol91 · 3 years

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Between a starring role in Cinderella, live performances, and a forthcoming album, it would appear things are business as usual for Camila Cabello. But there’s a difference: Before the pandemic her work was leaving her drained, anxious, and insecure. Now she’s found a way to be a pop star on her own terms, and everything—from the music to her relationship with her body—has fallen into place.

By mid-September, Camila Cabello was feeling burnt out. In the span of three days she had performed at the MTV Video Music Awards, attended the Met gala with boyfriend Shawn Mendes, and shot the first-ever global cover for Glamour. So when she finally returned home to Miami, rest wasn’t just desired—it was essential.

But rehearsals for New York’s Global Citizen Festival loomed. Before jumping back into pop star mode, Cabello put on a yellow bikini and headed to the beach for two hours of blissfully uninterrupted downtime. She sank into a chair and cracked open a book, her favorite pastime. The salty air enveloped her; waves crashed in the distance. This is why she lives in Miami, her hometown, as opposed to a showbiz hub like Los Angeles: more privacy.

Or so she thought. Somehow the paparazzi found out where she was for those 120 minutes. She didn’t see them at first, but there they were, snapping away.

“I didn’t consent to those pictures,” she tells me over Zoom, camera off as she drives in Miami. (At one point she says to someone on the road, “Why are you honking at me, bro?”) “I got my period on the beach. I’m in a bikini and on my period, so I don’t know if I have a fucking period stain and that’s going to be everywhere. I didn’t sign up for anybody to be taking pictures of me in a bikini.”

Cabello has developed methods for dealing with invasive situations like this. She’s had to. The 24-year-old—born in Cuba, raised in Miami—has been in the public eye since 2012, when she competed on The X-Factor. She auditioned as a solo artist but was later matched with four other girls to form the pop group Fifth Harmony. They released two albums before Cabello embarked on her own—and achieved mind-boggling fame. Her singles “Havana” and “Señorita” (with Mendes) topped the charts worldwide. She’s earned three Grammy nominations, become a face of L’Oréal, and tried her hand at not just acting but starring in a feature film: this year’s Cinderella remake on Amazon Prime. Her third studio album, Familia, is due out later this year.

By all accounts it’s a lot. Careerwise it’s the closest things have felt to prepandemic times, when she was working constantly, arguably to an exhausting degree. As COVID-19 shutdowns went into effect last March, Cabello was able to realize just how tired she was.

“I by no means am trying to complain,” she says, “but it was such a thing of, ‘I have to get onstage tomorrow and I’m performing at this big thing,’ or whatever. ‘I want to do a good job. How do I do that when I feel nervous?’ I did this without being like, ‘Am I even happy right now? Do I even feel healthy?’ I didn’t have the space to ask myself those questions. I’m still working a ton now, but after quarantine I’m able to be like, ‘You know what? Right now I’m just not happy. I need to change something.’”

Therapy helped her see the changes she needed to make. Cabello tells me she’d experimented with therapy before the pandemic, but it was always situation focused—quick fixes to help her tackle the next performance or songwriting session. But with time at home, she dug deeper: “Because I wasn’t stressed about all the things I needed to do the next day, I was able to slow down and have enough stability to look at my stuff.”

Cabello doesn’t expand on what that “stuff” is. She does, however, explain why she decided to switch therapists as her internal work continued. “I wasn’t feeling like I was progressing in the areas I wanted to progress,” she says. “But when I switched, I found I was able to apply what they said in a way that benefited my mental health.”

One lesson she’s learned is the power of saying no. Two hit albums under her belt give Cabello the freedom to do things her way. Now she always has one day off a week, minimum. And when time came to start work on Familia, she forwent the standard pop music factory for a more intimate approach. The new album was made with just a handful of collaborators she could be open with. If Cabello was feeling anxious or nervous in a session, she had the space to address it. As a result, she says, it’s her best work yet.

“It’s the most grounded and calm I’ve ever been making an album,” she says. “I worked with people I wanted to have dinner with, and I was like, ‘I’m not going to write every single day for months, but write a few days a week and have time to gather experiences and be a human being.’”

Shawn Mendes is one of the people she’s gathering experiences with. The two singers confirmed their relationship in September 2019, and they’ve been tabloid magnets ever since. Everything from their laughably slow pandemic walks to their kissing style is dissected with a fine-tooth comb. A clip of them getting ready for the Met gala went instantly viral.

Cabello tells me she and Mendes try to avoid the social media chatter about their relationship, but it inevitably seeps in. “When stuff that’s negative is out there, it’s going to get to you,” she says. “So yeah, that’s very, very challenging. I feel like it’s another thing therapy has been really helpful for.”

Mendes goes to therapy too. While Cabello says she and Mendes haven’t done couples therapy—though she’d be open to it—they very much work on their mental health together.

“For better, for worse, we’re very transparent with each other. I think that’s why we can trust each other so much, because it’s a very 3D human relationship,” she says. “I’ll be venting or ranting about something, and he’ll be like, ‘Have you talked to X about it?’ And I’ll be like, ‘No. I’ve got to do a session.’ And he’ll do the same thing to me. I think even just the language of being like, ‘Hey, I’m sorry that I’ve been distant with you or snappy with you. I’m just struggling and I’m feeling kind of anxious.’ That level of transparency really helps a lot.”

Mendes echoes Cabello’s thoughts. “Camila and I give each other an extreme amount of patience and understanding,” he tells me via email. “I think the truth is that when you’re struggling with mental health, it turns you sometimes into the version of yourself that you don’t like to be—and kind of loving and accepting your person through that, and being there for them through that, is life-changing. We give each other so much space and understanding and patience.”

A behind-the-scenes VMAs story perfectly illustrates this. When Cabello was nervous meeting new people at an after-party, she caught herself leaning on a habit she’s trying to break. Mendes helped her through it.

“I have this pattern of eating a lot when I’m anxious or uncomfortable,” she says. “It’s a comfort thing for me. I’ll just kind of become unconscious and zombie-eat a lot, and then I’ll feel sick. I’ve told Shawn about that. So at the VMAs party, I was like, ‘I’m doing it.’ And he was like, ‘It’s okay. You’re doing it. That’s okay. Let’s just take a breath and not do that.’ It’s really good for me to be able to talk about my patterns with someone.”

Food and body image are two things that have really been on Cabello’s mind this year. A July TikTok she posted shutting down body-shamers racked up 4.8 million likes. “Being at war with your body is so last season,” she says in the video, which she posted after photos of her running in Los Angeles made the rounds online.

That mantra is true, sure, but it’s easier said than done. Even Cabello has difficulty following it. She braced herself for what she might feel when those aforementioned bikini pics went live: “I need to work out. I need to eat better.” “Not that those things are bad,” she says. “But maybe I wouldn’t think about them as much if there weren’t people taking pictures of me.”

It’s not just the paparazzi who ignite moments of self-doubt. Cabello tells me about a time she was exercising with her trainer, Jenna Willis—who’s great, she says—and feeling insecure. “She’s the same height as me, and I was kind of comparing myself to her, because she is a lot skinnier than I am,” she recalls. “I was just like, ‘Yeah, but I’ve been working out and I look better, right? I look better, right?’”

It’s Willis who helped silence those voices in Cabello’s head, reminding her that how she feels is more important than appearances; that life is about balance and enjoying food. These are health philosophies we’ve all heard—but when you’re Camila Cabello and millions are picking apart your beach photos, it’s hard to tune out the noise. Now when she’s feeling down on herself, she just turns her phone off and goes outside.

“When I’m having negative thoughts about my body, that’s actually when I’ll want to binge-eat cookies, and then I have a stomachache,” she says. “It’s this weird psychology: The more I love my body, the more I actually want to take care of it…. As long as I’m healthy and working out and feel good, that’s the best I can do. There’s no point in trying to have another kind of body.”

By this point in our conversation, Cabello’s made it to her destination. When I ask if she’ll have time to chill and decompress, she says, “To be honest, not yet, but I will after this weekend.” There’s a calmness in her voice when she says this—a stillness, a readiness. She seems perfectly prepared for what lies ahead: album promo, performances, and undoubtedly more scrutiny about her body, her relationship, her everything. But she’ll be fine, because just around the corner is a day off. That’s nonnegotiable.

“It’s important to be on top of not just what’s making you sad or anxious, but also what’s giving you joy,” she says. “I want to be happy and enjoy my life. That’s kind of it.”

#camila cabello #shawn mendes #shawmila

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larryfanficcatalog · 3 years

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Famous Harry

Roots (43k)

Summary: There aren’t many things that make Harry Styles nervous. He’s spent the past couple of years on and off various stages, filled with screaming fans, all chanting his name, loud and adoring. He’s done countless interviews, some even on live, national television, never faltering over his words, answers meticulously planned out, smooth and steady. He’s signed countless autographs, taken just as many photos, and even when he sat in his label’s studio, waiting to see how high up on the charts his single made it, he didn’t feel uneasy or uncomfortable. It’s all been unbelievably fun. No, there aren’t many things that make Harry Styles nervous. Enter Louis Tomlinson.

Tired Tired Sea (113k)

Summary: As a B&B owner on the most remote of all the British Isles, Louis Tomlinson is used to spending the coldest half of the year in complete isolation, with his dog and the sea as sole companions. Until, one day, a mysterious stranger on a quest to rebuild himself rents a room for the winter.

Got The Sunshine On My Shoulders (124k)

Summary: five years ago, harry styles left his tiny home town to make it big as a recording artist. he didn't have much regard for what he left behind - a life, a family, and a husband, who woke up one morning to find him gone. now, harry has everything he could possibly want: he's rich, famous, and adored by everyone he meets, including his boyfriend. but when said boyfriend proposes to him, he's forced to face the uncomfortable facts of his past - and louis, who's spent the last five years returning every set of divorce papers harry sent him.

You Get Me Dizzy (27k)

Summary: Harry is a rockstar headlining two nights at Coachella and Louis is an EDM festival goer who manages to sneak into the VIP area with his best friend. He never expected the plan to actually work but then again, neither did he expect to get irritated and tell off someone who would turn out to be the most expected act of the weekend.

Is This Seat Taken? (36k)

Summary: Louis makes a bet with Zayn that he can sneak into a music awards event without getting caught, and when he ends up posing as a seat-filling member of staff he runs into superstar Harry Styles and sparks fly. Que the music.

A Million Roses (Bathed In Rock N’ Roll) (30k)

Summary: au. harry sings in smoky dive bars; louis misses his flight home. they go to coney island in the morning.

Three French Hems (20k)

Summary: In which Louis is a designer at Burberry and Harry spends December wearing Lanvin… and Lanvin… and Lanvin.

Crave (91k)

Summary: All eyes are on Louis Tomlinson to bring new talent to save Hanover Records from the mess the previous executive left behind. His newest artist, Harry Styles, is charismatic and everything Louis needs to revive the label. It’s up to Louis and his team to make Harry the star he was born to be. When Harry and Louis come face to face, it isn’t the first time they’ve met, and their worlds are about to be turned upside down.

Popstar Boyfriend (97k)

Summary: It was just one tweet. One innocent tweet to express his misery in taking his sisters to a One Direction concert. He never in a million years thought that the youngest lad would tweet him back. He especially never could've imagined what it would all lead to.

California Sold (124k)

Summary: Notoriously closeted boyband member Harry Styles is famous on a global scale, meanwhile Louis, as his best friend, is back home in Manchester, living the typical life of a 24 year old. When Harry needs Louis with him in LA, a publicity stunt gone wrong changes their friendship forever.

So Grab Your Passport And My Hand (33k)

Summary: The one in which Louis plays football and Harry sings a lot, and somehow that means they're meant to be. They'll figure it out soon enough.

Let Me Make A Thing Of Cream And Stars (25k)

Summary: Louis is a Radio 1 DJ and Harry is a pop-star he interviews.

I Heard You Talking (11k)

Summary: Harry is famous and Louis doesn't have a clue. Good thing his son is able to help him out.

#larry stylinson #larry stylinson fanfiction #famous!harry #larry #one direction #louis and harry #harry styles #louis tomilson

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tessandscottforever18 · 3 years

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Or so she thought. Somehow the paparazzi found out where she was for those 120 minutes. She didn’t see them at first, but there they were, snapping away.

Mendes goes to therapy too. While Cabello says she and Mendes haven’t done couples therapy—though she’d be open to it—they very much work on their mental health together.

“It’s important to be on top of not just what’s making you sad or anxious, but also what’s giving you joy,” she says. “I want to be happy and enjoy my life. That’s kind of it.”

#camila cabello #interview: glamour #glamour #glamour magazine

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goldstarnation · 4 years

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APRIL 2020 GOLD STAR MEDIA SCHEDULES & REVIEW

Members may earn 3 points each (up to 6 points) for writing, by the end of May 7 KST:

A solo para of 400+ words based on their monthly schedule (does not count toward your monthly total).

A thread of six posts (three per participant, including the starter) based on their monthly schedule.

Threads do not have to take place directly during an important date listed on the schedule, but must be related to what the muse is mentioned to be doing in the paragraph explaining their schedule/the company’s schedule for the month and/or their thoughts on the mentioned activities or lack thereof.

These schedules may be updated throughout the month if new information needs to be added.

Reminder: March schedule posts are due by the end of April 7 KST.

OVERALL COMPANY

One of the biggest factors that has gotten Gold Star to where they are is connections, and the company hasn’t forgotten that. To foster budding international connections, Gold Star has invited a few international acclaimed choreographers and songwriters who have previously worked to choreograph and write for select Gold Star artists to the company this month to give workshops to any idols who are interested. The workshops are free for idols, but Gold Star is paying their guests, so idols would be wise to attend one and show their company they’re dedicated to growing and networking, even if they’re not a dancer or songwriter.

Important dates:

April 6: Dance workshop.

April 16: Songwriting workshop.

April 20: Dance workshop.

April 30: Songwriting workshop.

GOLD STAR SOLOIST 1

“Love Poem” continues to top the charts, even as the end of her promotions of the single pass. Almost immediately, that brings her to time to film the two music video she’ll be releasing to accompany her mini-album. One is for the title track “Blueming” and one is a pre-release video for “Above The Time”, the video of which will serve as a sequel to her past hit “You and I”.

Important dates:

April 5: Performance at Seoul Spring Festival After Sunset Concert (see event).

April 15: End of music show promotions.

April 17: “Above The Time” MV filming.

April 21: “Blueming” MV filming.

GOLD STAR SOLOIST 2

With Incheon and Gwangju down and with the reviews coming in positive, her tour continues this month with shows in both Suwon and Daegu (see January schedule for special stages). Her tour will run through June, at which point she’ll be back in for meetings to discuss her musical future.

Important dates:

April 5: Performance at Seoul Spring Festival After Sunset Concert (see event).

April 21: I AM : RE-BORN tour concert at Gyeonggi Arts Center Grand Theater in Suwon, South Korea.

April 29: I AM : RE-BORN tour concert at EXCO 5F Convention Hall in Daegu, South Korea.

GOLD STAR SOLOIST 3

“Love Die Young” releases on the 22nd. Since it’s a completely English single, Gold Star doesn’t expect too much in terms of chart performance, but he’ll still be promoting it to a Korean audience with mainly only online promo for Western countries, where the focus will lie more for the release of the full album. As such, he’ll go into the studio for Elle Korea magazine to film a video of himself performing the single live for their Elle Stage series.

Important dates:

April 22: Release of “Love Die Young”, promotions continue until May 22.

April 29: “Love Die Young” Elle Stage video filming.

SILHOUETTE

Their Japanese single comes out mid-month and considering they already did their main promotions Gold Star had planned by way of their recent Japanese tour, they won’t be going overseas to do any additional promo for it. Instead, they’ll finally begin work on another Korean comeback. Gold Star has decided they’d like to try to take Silhouette in an edgier direction marketed toward an audience in theirs 20s and 30s to make them standout in an industry they’d become increasingly pushed to the background of. They’ll hear demos for their album at the beginning of the month following concept meetings to discuss Gold Star’s creative vision for them, and then they’ll be in the studio to record what Gold Star hopes will be a true comeback album in several senses of the world.

Important dates:

April 5: Performance at Seoul Spring Festival After Sunset Concert (see event).

April 15: Release of “Bad Girl For You” Japanese single.

ARIA

Aria sees their ninth anniversary since debut this month. To celebrate, they’ll be doing a special event at a cafe in Mapo-gu where they’ll serve coffee, free of charge, to fans for a few hours. During the event, members are allowed to tease that they might be working on a comeback, but aren’t allowed to spoil or confirm anything further than that. They are, in fact, continuing to prepare their comeback, though, so, the rest of their time this month, they’ll be learning and practicing their comeback choreography for both the title track “Beautiful Days” and b-side “Close To You” and “Love Game”. Talk also begins this month that Gold Star is in talks to send Aria as representatives of the company for an upcoming competition show between girl groups.

Important dates:

April 19: Ninth anniversary coffee event in Mapo, Seoul.

ORIGIN

Origin is mostly out of the public eye this month, only traveling to Japan from April 23 to April 27 to perform two of their scheduled Japanese fan meeting dates. Behind the scenes, they finally get news about their comeback, which was unceremoniously pushed back last year. Gold Star will be combining what had initially been two album ideas into one and including songs off of their last album with an overarching theme of celebrating their seventh year since debut and their seven members. This means many songs have been cut and some more have been chosen to be added. They’ll begin recording the new songs off of the track list this month.

Important dates:

April 25: Japan Official Fanmeeting Vol.5 ~Magicshop~ at Chiba Marine Stadium in Chiba, Japan.

April 26: Japan Official Fanmeeting Vol.5 ~Magicshop~ at Chiba Marine Stadium in Chiba, Japan.

IMPULSE

It’s back to touring! The members of Impulse will be in Europe for two weeks from the 13th to the 26th to complete the European leg of their tour. Before and after this period, while they’re in Seoul, their schedules are pretty relaxed and the members will have some free time, although they’re still expected to stay in Seoul to attend to miscellaneous schedules. Next month, they’ll begin preparing for this year’s comeback.

Important dates:

April 5: Performance at Seoul Spring Festival After Sunset Concert (see event).

April 14: Keep Spinning Tour concert at Ziggo Dome in Amsterdam, Netherlands.

April 17: Keep Spinning Tour concert at Wembley Arena in London, England.

April 19: Keep Spinning Tour concert at Mercedes-Benz Arena in Berlin, Germany.

April 22: Keep Spinning Tour concert at WiZink Center in Madrid, Spain.

April 25: Keep Spinning Tour concert at AccorHotels Arena in Paris, France.

FUSE

Their first concerts for this tour are next month, so the members continue to be booked to practice choreography and live performances. In addition to this, they’ll be in to get fitted for the stage outfits and will also film all of the VCRs over the period of a few days. It’s not too busy for the members, but they’ll begin to work on comeback preparation next month, so they’re expected to focus all of their energy on preparing for an amazing concert for the time being.

Important dates:

April 8: Tour outfit fittings.

April 13-16: Tour VCR filming.

ELEMENT

It’s the final month of comeback preparations before their comeback and they continue to be filmed rehearsing. They’ll also be shooting their comeback music video and the accompanying teaser photos, which are themed after different gods in line with the music video concept, this month. Both schedules will be recorded for possible documentary behind the scenes footage. For the teaser photos and music video, the main dancer/lead rapper will represent Thor and Zeus, the main rapper/lead dancer will represent Ares and Dionysus, the main vocal will represent Aphrodite and Chloris, and the maknae/lead vocal/lead dancer will represent Hera and Athena.

Important dates:

April 5: Performance at Seoul Spring Festival After Sunset Concert (see event).

April 21: “Dumb Litty” MV filming and teaser photo shoot.

FEMME FATALE

April is an incredibly busy month for them, as they not only release what is almost sure to be their only comeback this year with “Kill This Love”, but they also begin the North American leg of their tour and perform at both weekends of Coachella. They’ll be in the US from April 9 to 11 and return to Seoul for a few days to pre-record more music show performances for the next month before they fly back out to the US from April 14 to April 26, after which they’ll return to Seoul again. Before they leave, they have two CFs to shoot for two new brand deals Gold Star has landed them: Woori Bank and Samsung Galaxy.

Important dates:

April 3: Release of “Kill This Love” & mini-album showcase, music show promotions continue until May 3.

April 5: Performance at Seoul Spring Festival After Sunset Concert (see event).

April 6: Woori Bank CF filming.

April 7: Samsung Galaxy CF filming.

April 10: Performance at Coachella Valley Music and Arts Festival in Indo, CA, USA.

April 15: Femme Fatale In Your Area World Tour concert at The Forum in Inglewood, CA, USA.

April 16: Performance and segment on The Late Show with James Corden in Los Angeles, CA, USA.

April 17: Performance at Coachella Valley Music and Arts Festival in Indo, CA, USA.

April 22: Femme Fatale In Your Area World Tour concert at Allstate Arena in Rosemont, IL, USA.

April 25: Femme Fatale In Your Area World Tour concert at FirstOntario Centre in Hamilton, ON, Canada.

#fmdschedule #queued post

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chandlermovestomichigan · 6 years

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Thanksgiving break seems like a good time to reflect on my semester.

With only a month remaining, I’m past the point where things started to get crazy. This week was certainly one of the more difficult weeks, with a project due Thursday, a test Friday, and two papers the following Tuesday. It’s not going to get easier anytime soon, but that’s okay.

This semester, I’m completing two of my three remaining requirements for my history major and my last class that’s part of the core curriculum

Constitutional Convention - Dr. Rahe I was really excited about this course when it was first announced. Unfortunately, I was not prepared for the very extensive reading requirements for each class. I regretted taking it for a little while, but I’m glad I stuck with it. I’ve enjoyed discussing the notes from the Constitutional Convention, and having a better understanding of why the Constitution is the way it is.

Ancient Rome - Dr. Calvert This has been a great class. My favorite part is that instead of tests, we write papers. I definitely think all history classes should be this way. It’s so much more valuable to spend time with a text and analyze it than to just memorize facts, which often happens on tests. I was surprised to learn that we have two papers due during finals week, though. Until about two weeks ago, I thought there would just be one.

Human Biology - Dr. Johnson I’ve complained before on this blog (when I took Physics/Chemistry) about how awful my experiences have been with science classes. I hoped this class would be different, but it is not. There’s a tendency in the core science classes to assume that— even though they’re taught to non-science majors— everyone in the class has a pretty decent understanding of the subject from high school, and that this class is just a review and extension of everything we learned before. My last biology class was seven years ago, and it was bad. I have no knowledge to build on, and I have learned nothing in this class. I hear the tests are difficult even for people who understand the material, so you can imagine how that’s going for me.

Philosophy of Education - Dr. Beier I’ve been interested in taking this class for a while, and I’m glad I finally could. It’s been really interesting. It’s definitely a philosophy class, not so much a “how to teach” class, which I like. We’ve read Plato, Aristotle, Augustine, Aquinas, and, most recently, John Dewey. It’s all discussion-based, which is fun. I gave a presentation recently on “The Well-Trained Mind” by Susan Wise Bauer and Jessie Wise. I think it went well.

Lastly, I’m still taking voice lessons with Kristi Matson, and that has been good, although more challenging than previous semesters.

I’m also now the web editor for the Collegian, so I edit the online-only section Study Break. It’s a good time. It’s pretty flexible, so I can pretty much run whatever I want to. It’s certainly a challenge to get writers to turn pieces in on time. There were a couple of times at the beginning of the semester when I scrambled to write something since the pieces I was counting on didn’t come in. I started assigning more pieces than I needed, and that worked for a while, but there have still been a surprising number of instances where I get pieces back very late, incomplete, or not at all.

I tend to try a new planner technique every year, and I’ve finally settled on my favorite yet. It’s called bullet journaling, and I wrote an explanation of it on Study Break. It’s been fun to adapt my layouts as the semester goes on to find out what works best for me. I like doodling, and I like the super customizable aspect.

As I’ve mentioned before, I don’t blog as much as I used to because I journal much more consistently. I started my “One Line a Day” journal over a year ago, so now I can read what I was doing on a year before when I write my entries, which I love. And, I can refer to my journal when I blog.

September highlights 9/2- Some guys who live off-campus in a house called “The Womb” threw a music festival called Wombstock. I had a blast listening to loud music, and later, hanging with friends at Rough Draft, my favorite coffee/cocktail place in town. 9/17- I went to the Toledo Museum of Art, thanks to the Art department! I posted a few photosets from this day earlier on the blog. We went mainly for the Berlin painter exhibit and saw a lot of really neat Greek vases, and I also enjoyed seeing two paintings by Monet and two by Van Gogh. 9/21- At every SAI meeting, someone performs a “musicale.” I performed my first this semester. I did “Sawdust & Diamonds” by Joanna Newsom. I love her and I have long wanted to perform one of her songs, but they are generally very long and require a harp. So, this was a good chance to play only the last third of this song and with a piano, since it was pretty low-key. 9/23- Every semester, SAI hosts a Rose Tea. It’s a chance to get to know our potential new members and reminisce, as seniors share a memory. It was more emotional than I intended, but in a good way. 9/29- I went to the Most Popular Fair on Earth! It was super fun seeing animals, eating donuts, and more with dear friends. My favorite part was seeing a baby cow who had been born just a few hours earlier!

October highlights 10/5- SAI pledging ceremony! My friend Elena Creed and I are now co-bigs to Jessica MacFarlane, which is very exciting! Initiation is happening soon. 10/7- The Phi Mu Alpha electric serenades are always a delight, and this year was no exception. I watched them at both the SAI house and at Mauck because I was so excited. 10/16- I took a journalism seminar with Matthew Continetti about the history of conservative journalism. There was a lot of really good reading, and I enjoyed the discussions as well. 10/20-22- Mom and dad flew in for Parent’s Weekend. We took family photos, got dinner at Handmade (a sandwich shop that I had never been to that was delicious), and hung out reading and listening to live music at Rough Draft. 10/25- Fall Break began, and I house sat for a professor. 10/16- I drove with friends to Frankenmuth, Michigan, a cute little Bavarian tourist-y town. And, my boyfriend Jonathan flew in and met us there! That was wonderful! We ate delicious German food and fudge and went to the world’s largest Christmas store. 10/27-28- I showed Jonathan around all the important spots, like the Arb, Baw Beese, Checker Records, and Rough Draft. 10/31- I went with friends to a Halloween party at Rough Draft (which I realize now I have mentioned a lot) and that was very fun!

November highlights 11/4- SAI concert! I sang Regina Spektor’s “Us” with Maddie Greb on violin and Sarah Schutte on piano. It was delightful. Here is a video. I also sang in our two group pieces (“Give My Regards to Broadway” and “New York, New York”) and in an ensemble for a Hamilton song. 11/7- Fall Convocation, and I suddenly felt like an actual senior. 11/10- I went to Phi Mu Alpha’s annual Battle of the Bands, and it was a blast, as always. 11/11- I saw the Opera Workshop performance of Pirates of Penzance, and it was incredible. 11/17- I saw the theatre department’s performance of Proof, which I really loved.

It’s been a good semester, and it’s hard to believe I only have one left.

#blog #photos #senior year #year four #fall #hillsdale #hillsdale college

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mikemortgage · 5 years

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Grassroots tech group takes startup approach to fight Brexit

LONDON — Software engineers, entrepreneurs and product managers huddle in small groups, brainstorming ideas and scrawling thoughts onto Post-it Notes on a wall. The project leader exhorts them to “think of products around these themes.”

It’s not a startup but a grassroots band of volunteers from London’s tech industry developing websites to prevent Brexit, Britain’s departure from the European Union that has fallen into complete disarray. They hope to put public pressure on politicians to give people a second vote. While the group is small, their engagement in politics underscores the concerns among businesses and entrepreneurs who stand to suffer from tariffs and border checks.

“I’ve never been a political person before, really,” said German-born venture capitalist Andreas Cser. A longtime London resident, he joined the group, Tech For U.K., after he found Brexit made Britain less welcoming for foreigners and exposed the “incompetence and brazen political hypocrisy” of its political leaders.

Cser, whose firm, Automat Ventures, invests in companies that use artificial intelligence, helped connect Tech For U.K. to computer scientists. “What I know about is how companies develop tech products,” and how they scale them up, he said.

Since its launch last year, Tech For U.K. has rolled out a dozen mobile-friendly websites. They help users automatically send anti-Brexit messages by postcard or voicemail to their politicians or spotlight the EU’s benefits to Britain. Volunteers donate their time and the group also gets limited funding from anti-Brexit campaign group Best For Britain, which vets the digital tools before they go live. The latest, launched on the weekend, lets Facebook and Instagram users add an augmented reality “Stop Brexit” button to photos and videos.

Britain was due to depart the EU on Friday but the process has been delayed after Parliament rejected the Brexit deal Prime Minister Theresa May negotiated with the EU. If she gets it passed in another potential vote this week, Britain could leave by May 22. If not, it has until April 12 to indicate to the EU a “new way forward.”

One of the group’s goals is to rally support for a second referendum on Brexit. There’s no majority for that in Parliament, but a big march in London on Saturday to demand one suggests momentum is growing. A retired academic’s online petition went viral last week, receiving over 5.6 million signatures in favour of revoking Brexit altogether.

With many outcomes to Brexit still open, Tech for U.K.’s aim is to persuade those on the fence about the benefits of EU membership and give people who are opposed to leaving a way to express their views.

“At the end of the day, it’s for those who might change their mind,” said Kiyana Katebi, founder of an IT consulting firm.

Katebi helped develop the group’s first site, MyEU.uk , which shows people EU-funded projects in their neighbourhood based on their post code. The site had around 100,000 visitors in the first two days after its September launch.

Another site, Finalsay.app , let British residents leave a voice message for their parliamentary representative with their “final say” against Brexit. Hey MP! lets people automatically send postcards to their lawmaker asking for another vote.

It Costs EU reveals the portion of income tax going to the bloc while EU Worth It shows the amount of EU funding British districts receive, to counter claims Brits pay too much to the EU.

Can I Move To Barcelona simply explains how Brits can still move to the Spanish city, or dozens of other EU destinations, under the bloc’s freedom of movement rules — a benefit that likely ends across the British border if Brexit happens.

The group, while small, says they’ve have had an impact on sentiment but didn’t provide any numbers on site traffic or messages sent.

“The point is to ask people the question: Do they really want this?” and then show them how Brexit will affect them, said Mike Butcher, Tech For U.K.’s co-founder.

About 200-300 people have joined the group, Butcher said. They work on the projects on evenings and weekends and collaborate remotely.

The group is using technology to counter what they see as misinformation surrounding Britain’s EU membership that may have contributed to the 2016 referendum vote result to leave.

Since the referendum, Brexit opponents have raised concerns about the influence of Russian meddling and the role of social-media advertising using data harvested from Facebook.

“One of the reasons that we lost in 2016 was that (the pro-Brexit camp’s) digital game was far superior to the people fighting to stay in. We’re playing catch-up,” said Eloise Todd, CEO of Best For Britain.

On the other side of the argument, pro-Brexit groups flourish online, with names such as Get Britain Out, Stand Up 4 Brexit and Leavers of Britain using social media to promote their views.

More than 1,500 U.K.-based tech executives signed Tech For U.K.’s open letter last year to Prime Minister May, warning that Brexit risks making it harder to hire tech talent and crimping funding from Europe. But for many volunteers, Brexit’s impact on the country transcends those concerns.

At one of the group’s recent weekly evening meetups, in a tech company’s basement meeting room in Central London, the crowd of about 20 split into three groups.

They ran through ideas and themes. Would Brexit make it harder for European musicians to play at Britain’s Glastonbury music festival? Could they build a site to get people in Ireland to write letters to relatives in Britain? Would microbreweries still be able to get imported hops?

“We just need to think about various members of the public, what might tick their buttons,” startup founder James Tabor told his group. “This is about getting into the minds of the general public.”

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James Brooks in London contributed to this report.

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sinceileftyoublog · 7 years

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Dave Depper Interview: Welcome to Earnestville

Photo by Jaclyn Campanaro

BY JORDAN MAINZER

Dave Depper is a bonafide music lover. As we talk while he drives from his girlfriend’s place in Seattle to his home in Portland, we bond over music both old (Talking Heads’ “Born Under Punches (The Heat Goes On)”) and new (Sera Cahoone’s From Where I Started, on which Depper plays bass). It makes sense, then, that for his first solo record, Depper (now a full-time member of indie rock giants Death Cab For Cutie) had to find a way to channel everything he loves into a messy canvas. He played the infamous “20 song game,” writing 20 songs in 12 hours, 2 of which ended up on what would become Emotional Freedom Technique, a shiny synth pop record centering on the dissolution of relationships.

Here, Depper, who is already working on his follow-up (and is scheduled to record a new Death Cab record), breaks down Emotional Freedom Technique in advance of his performance at this weekend’s Bumbershoot festival in Seattle. Read the interview below, edited for length and clarity.

Since I Left You: Emotional Freedom Technique was born from a spontaneous process. What happened in between your initial “20 songs” process and the final product? How much did you tinker with what you had initially come up with?

Dave Depper: Quite a bit. In terms of the 20 song thing, only 2 songs from that ended up making it, so there was a lot of interim songwriting. As for those two songs, “Never Worked So Hard”, except for changing one word, that was mostly done, which was crazy. As for “Anytime Anywhere”, that was vastly different. It was almost like a jokey song. It had auto tune on my vocals and a hair metal guitar solo. As I took the album idea more seriously--I didn’t set out to make a sad, confessional record, but as it appeared that way, that song had to be taken out of Ironicville into Earnestville.

With the rest, I wrote so many songs for this record and had a lot of different roads I tried going down and lots of lyrical revisions--”Lonely With You” had about 5 different sets of lyrics. It was when I wrote “Do You Want Love?” that it all became together. It became the unifying statement of the record. It stemmed from one of many breakups I was having. I had an endless amount of short-term relationships, and I couldn’t figure out what I was doing wrong. Breaking up with someone, in the middle of conversation--which was a very polite and sweet break up as far as those things go--she asked me, “What do you want, man? Do you even want love?” I honestly don’t even know what that means anymore. Being a songwriter person, it became a great idea for a song--not that I like having emotional tragedies having to occur to create songs. It was quite a bit later--maybe a year--that I was thinking about that conversation, and the rest of the songs sort of gelled around that idea, and I thought about exploring that period of time.

SILY: I get the sense from both this album and what I’ve read of you talking about your next one that you’re the type of songwriter to have a ton of ideas you have to make sense of. Are you not as deliberate? Do you spend more time doing the filtering after the initial idea?

DD: Definitely, filtering is my challenge. I kind of spray ideas out Jackson Pollock style. I have a million different interests. I like a large breadth of music, and a lot of what I spend my time doing is trying to recreate a version of what other people have done in my own way. I really like learning from music I’ve heard before--trying to get into the brain of other instrumentalists. I’ve always been fascinated by the synthesizer on The Police’s Synchronicity, ever since I was a little kid. I spent an hour recreating it as close as I could. I probably spend about 90% of my time in the studio doing that dumb stuff hoping it will turn into inspiration later on. It generally does. The challenge for me is turning down my ADD brain and focusing on one idea--which happily happened with the record once I figured out it would be a synth pop thing with a specific sonic template and lyrical theme. But it took years to get to both of those places.

SILY: You still definitely have bits and pieces of everything else that creep up as an element within a song. The final song on the record has some slide guitar on there.

DD: That’s kind of the only capital G guitar moment on the record. When I was mixing it with my friend Thom Monahan, he was just kind of like, “I don’t see how this fits into the album.” We mixed the album in order, so that was the last song we mixed. He was like, “I’ve been on this smooth, synthy ride, and this is really jarring.” I was like, “This is exactly what I want. You have to trust me.” I really wanted this cathartic Spiritualized meets Stereolab explosion at the end. I was happy I was able to make that live in this world it didn’t belong to.

[The pedal steel, too] was used on this track and “Lonely With You”. I bought it from Chris Funk from The Decemberists--it’s actually used on most Decemberists records. I don’t know how to play pedal steel at all, but it’s been an obsession of mine to try and combine synth pop with pedal steel guitar. There’s this Pet Shop Boys song from the 90s called “You Only Tell Me You Love Me When You’re Drunk”--which is also the best song title ever--out of nowhere, this pedal steel solo comes in this sad ballad. I’ve always been obsessed with that moment. Something flown in from a country song on this futuristic synth song.

SILY: Do you have a favorite song on Emotional Freedom Technique?

DD: I have three. “Do You Want Love?” I’m proud of in that I spent most time on that song by far and didn’t know where I was gonna go. The rest, I more or less had an idea what was gonna happen. That, all I had was that bass and piano riff and I just kept on adding to it. I spent three weeks not sleeping or eating making that song. It seems to be the song that has resonated most with people. It sort of ended up leading off the album. I’m really proud of it, especially because I didn’t know I had it in me.

“Lonely With You” I really love because I started writing it in 2007, or something insane like that. It’s been this white whale for me, trying to finish that song. It ended up sounding perfectly like it did on my head. The last track, “Hindsight / Emotional Freedom Technique” is the most meaningful song I’ve ever written. It was the first song I ever wrote that felt honest. When I wrote it, I realized I had a breakthrough as a writer.

SILY: How does the album art convey the themes of the record?

DD: The album art came together really randomly. I had three ideas going into this. I wanted it to be an unconventional portrait. I wanted there to be a grid in the background. And I wanted to use the font used on the road signs on freeways in France. The grid represents sort of how the album is on a grid. It’s actually a very rigidly paced, robotic album that I programmed. I programmed all of the drums and played a little bit of them. I really wanted that to come through on the artwork. When I was shooting the photo with my friend, we spent all day basically throwing things against the wall to see what stuck. I was sitting on a chair with a silvery background, and she put a pink light in front of me. I think the record is sort of pink colored for whatever reason. She just randomly was like, “Hey, put this full length mirror in your lap right now.” We snapped five photos, and it took two minutes and we moved on to something else. But going through everything later, that conveyed so much of what I wanted to convey. I don’t look really happy or sad. It’s kind of hard to tell what my expression is. That kind of represents how the record is a bit ambiguous. I don’t come to any conclusions of love or where I am. There’s a callousness to this whole thing.

The genius illustrator who worked on the record--Abigael Tripp [from the album’s label, Tender Loving Empire]--came up with the idea of integrating the grid into the photo and having it surround me, which brings me into the technological aspect of the photo and record. And I wanted the French road sign font because it conveys a sort of kinetic energy to me. As silly as it is, that font seems to represent the road and forward motion to me.

SILY: What’s your live set up like?

DD: I knew from the get go that I needed an awesome rhythm section, and I got a great drummer and bass player. The songs just kind of came alive. There are two gal friends of mine playing keyboards and singing, and one of them playing a bit of guitar. I’m playing guitar most of the time and some keyboards. There are lots of harmonies.

It was a really fascinating experience--I had never really had to translate something to the stage like that before. Especially this record, which I recorded all by myself. The challenge was figuring out what to leave out. I really didn’t want a bunch of karaoke backing tracks behind us. It was really fun to hear people bring their own history and playing style. Some really took off in different directions than I was expecting.

SILY: I see that you’re working on some new stuff, and that Death Cab is working on a new album. What else is next for you?

DD: The Death Cab album is gonna be occupying most of my time and energy in the fall. We’re gonna be doing that October through Christmas. I’m working on some new solo stuff I’m really stoked about. It always seems to happen during the summer when I’d rather do everything outdoors. The themes of the new stuff haven’t really revealed themselves to me, but I want to take some of the sounds from Emotional Freedom Technique and push them a lot farther. “Do You Want Love?” is kind of this free-form, darker, dancier thing, but not necessarily pop. I’ve always been fascinated by Talking Heads’ Remain in Light, and how the songs don’t have traditional choruses or bridges--there are all these weird layers of percussion and chanting that come in and out--I’m interested in applying that to the sonic template from Emotional Freedom Technique. Weird synthesizers, drums, and programs. When I finish that, I have no idea. What the lyrics are going to be about, I have no idea. Hopefully I have it figure out by the time I have to drop my entire life and record a Death Cab record.

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funkadelicthreads · 7 years

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Clean Vibes, Good People, Great Tunes.

This was the mantra that resonated throughout the weekend, rain or shine. Sweetwater & Happy Ending Production’s seriously stepped up the talent this year bringing this powerhouse headliner lineup, but even the smaller stages had the best local jammers as well. If you missed the fabulous preview of 420 Fest by Savannah elder – you need to check it out here!

It’s hard to come by a successfully run festival that is smack dab in the middle of a city, yet somehow ATL does this quite well. This is especially impressive when the festival is packed yet seems like there is green space between you and your neighbor. The heavy hitting headliners included WSMFP, Trey, Moe., Lettuce (If you don’t know then you better learn), Ween, Dopapod, Break Science (w Adam Deitch of Lettuce and Royal Family Records w/ Fitty Cent), Trombone Short, & Twiddle – just to name a few.

… But y’all could get that review from all the other media houses – L4LM, Jam Base, or Live ‘n Listen. This ‘rebrew’ is all about the smaller acts with that BIG sound! In order of appearance: The Hip Abduction, CBDB, Andy Bruh, Hedonistas, Voodoo Visionary, HIKU, & Funk You. So enjoy the epic photos by Blake Towns and listen to some Lettuce while you read!

Video by Clifton Dyer

The Hip Abduction

T.H.A. is an honorable mention since they are unable to play die to their singer’s vocal cord strain earlier in the wee which called for no talking/singing for a week (Doctor’s Orders)… coulda just jammed though y’all! Enough hate though I’m sure they heard it enough. They are currently touring w/ 3rd studio album under their belt and recently added synth sound incorporated into their tribal reggaeton arsenal due to their most recent producer from Nashville. Cheers to that guy because it works actually, big risk big reward because they have been shooting straight up the festival bills.

The Hip Abduction featuring David New (lead vocals, guitar), Pat Klemawesch (kamale ngoni, guitar, vocals), Chris Powers (bass), Dave Johnson (baritone and tenor sax), Sean Fote (keyboards), Matt Poynter (drums, vocals), and John Holt III (kamale ngoni, guitar, vocals) have shared stages with the likes of Ziggy Marley, Umphrey’s McGee, Thievery Corporation, 311, Dawes, Galactic, and Moe.FE and has performed at Sunfest, Wanee Music Festival, Suwanee Hulaween, Orange Blossom Jamboree, Tropical Heatwave Music Festival, The BIG What? and more.

All Photos are by Blake Towns

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CBDB

The slayers and purveyors of Joyfunk from L.A. (that’s Lower Alabama, not Los Angeles). These guys kicked off the festival with elegantly intricate riffs over light hearted prog jams. Its intense in a whole-hearted way which is hard to describe. CBDB always brings the heat and their performance at the Lyrics & Laughter Stage was no exception. Before the show, I talked to their newest bassist (that’s their 3rd if you are counting, but the rest of the band has held tight so no worries) but this new guy knows what’s up on the down low. Check out their third album, entitled “The FAME EP”, they are seeing a pattern of snowballing momentum with large, energetic crowds hungry. They blend soulful vocals and virtuosic instrumentation with smart, tasteful songwriting resulting in a sound that can be enjoyed by the casual listener and audiophile alike.

Speaking of questionable choices, as much as I hate to love Twiddle (Half of you Phish fans know what I’m talking about) I really do love this song and Bird Dog Jubilee does a spot on rendition. Here is vid of the song at 420Fest.

Andy Bruh

The Heartwood Artist who is always in between Decatur and Athens has been raising the stakes in the DJ Realm for quite some time. After getting his start packing out New Earth, he quickly rose to support slots for Bassnectar, one of his biggest influences. He and Nectar also have more in common – they walk the line of producer and band by bringing together fresh perspectives, original music, and a true sense of community that is built on the entrepreneurial spirit of friends that surround them.

Andy’s other partner in crime, Robbie Dude, didn’t make the se this year, but they both were reunited alongside JuBee & Friends at the 420 Fest After party on Sunday. The Duo accompanied by accomplished MC, JuBee was nothing short of magical. Also Shoutout to JuBee playing Red Rocks this September // #keepATLfunky homie! The Atlanta born producer and DJ captures the soul of his city while pushing into unknown sonic territory with full control. Steeped in the history of Southern hip-hop, Andy Bruh builds on it’s melodic backbone and brings the full force of the electronic bass wave to create an energy unrivaled by many in the scene.

Hedonistas

Due to a time conflict, we weren’t able to cover these cool cats, but we still wanted to give them a shoutout and recoginition they deserve. Hit this link is after reading to get a peak of their set from the festival!

Also if that isn’t enough, our mutual homie Ethan “Dancin Shoes” Eloquin will be submitting a full rebrew of Hedonistas. Stay tuned kids!

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Voodoo Visionary

The Hometown Hero’s of Funk never disappoint. Here is just a little look into the set, but be looking out for a promo video and more media later! Where do we start?! Well, they played one of the best versions of “Harmony” I have head since its debut. Not to mention the monster jam that ensued after playing “Life During War Time” ( better than Widespread’s version i.m.o – more funky and to the point). Imagine that whilst slowly transitioning into the funkiest version of “Apache” (Jump On It) by Sugar Hill Gang all while Bret and the Krewe tossed out Voodoo Volley Balls into the insatiable crowd.

These newcomers ATE IT UP, and they fully satisfied their longtime fans as well. It was a magnificent marriage of olde & new, experimental & funk, young & old… so basically it is what you get all the time if you consistently go to VV’s shows. I cannot stress how much that this is a band not to miss next time you see them on a bill *cough cough* SCI afterparty. The crowd was so wild, I truly thought that widespread panic was about to ensue.

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HIKU

This Dynamic Duo is new on the block; however, the two producers are defiantly not. Niles, keys/synth/pad of ATL hellions Higher Learning who have been disrupting the electronic scene more than anyone since STS9 (which makes cents* since they were well-deservingly signed to 1320 Records last yea. (…don’t say 1312 like I always mistakenly say, it’s embarrassing. Especially if you say it to Alana while relating to bass theory) Moving on now.

Tyler (whose last name will remain a secret due to him being in the GBI’s Witness Protection Program) turned away from a life of killing beats to turning to the light side where he met Niles who noticed Tyler’s keen ability to produce phenomenal bass hits while pulling in drops to other covers which is the basis of HIKU. They do an extraordinary job of interlocking covers and original material to send out earthshaking drops atop there mountainous sound onto the audience.

Funk You

The OGs Renegades of Georgia Funk hailing from East Augusta have been on the grind for years and really been gaining this deserved recognition recently. The troupe is made up pf Will Clark on Drums, Will Foster on Keys, Gavin Hamilton on Vox, Evan Miller on Guitar, Palmer Owens on Perc, and Rob on Bass. Really they were well kept secret in Augusta, but nationally touring musicians have recolonized their talent for quite some time which has landed them in great festival spots like 420, The Werkout, The Big What, and the list goes on.

Back in 2014 at the first iteration of The Major Rager with Umphrey’s McGee and Moon Taxi, they were playing the afterparty at Sky City with The Kinky Aphrodisiacs and Chris Myers actually jumped on the drumset and jammed out! They had a number of flawlessly executed impromptu sit-ins – all while UM & Moon Taxi band members were in the crowd cheering them on. It was a magical moment to watch and after talking to Will Foster, it seems that there are many more stories to tell. We will save that for another article on these new age James Brown revivalists of the south. Catch them opening for PGroove at Georgia Theatre on June 2 in Athens and the Cox Capitol Theatre in Macon June 2. For tickets and info here!

Stay Funky My Friends,

~Kyle Dee~

… and if you still are reading, you deserve this: WSMFP night 2 – 2nd Set (I almost put the Ween set, but then thought you Gene and Dean fiends probably saw their set and already looked up all the recap plus pressed through the other single song vids from the night… I know I did. Roses was a great opener and Bird Dog Jubilee did a good cover of it at the Vinyl after Party too)

FEATURED THREAD: 14th Sweetwater 420 Fest’s Heady ‘Rebrew’ Clean Vibes, Good People, Great Tunes. This was the mantra that resonated throughout the weekend, rain or shine.

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cstesttaken · 7 years

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6 Ways to Celebrate the Holiday Season in Your Social Media Marketing

“On every world, wherever people are, in the deepest part of the winter, at the exact midpoint, everybody stops, and turns, and hugs, as if to say ’Well done. Well done, everyone! We’re halfway out of the dark.’” -Doctor Who

Last night, I drove home from work in the dark. I hadn’t stayed late putting the finishing touches on another devastatingly brilliant blog post. It was just that, after the long Thanksgiving weekend, the darkness has finally caught up with the end of the work day. And there’s plenty more dark to go before the days get longer.

On the bright side, that means the holiday season is here. There are at least four major holidays and plenty of minor ones to go around.

All this festivity offers us unique chances to make a connection with potential customers. ‘Tis the season for savvy social media marketing.

You don’t have to drape your Facebook page in tinsel or string lights on your Twitter feed to catch the holiday spirit. In fact, the bigger, tackier celebrations are less likely to feel authentic, and more likely to alienate those who don’t celebrate a particular holiday.

It’s better to celebrate the holidays on social media the same way you do everything: With your audience’s needs and wants firmly in mind.

Here are a few ideas for getting your brand into the spirit.

#1: Go Behind the Scenes

Your audience always wants to see the people behind the brand. During the holidays, those who are celebrating will enjoy seeing others celebrating, too. Snap candid shots of decorated desks, bedecked halls, and your annual office party.

Collect memorable holiday stories and favorite recipes from your co-workers, too, and share them with festive holiday portraits. Ugly sweaters and santa hats are optional, but encouraged.

#2: Encourage Your Audience to Share Holiday Photos

During the holiday season, most people’s thoughts turn to happy childhood memories. We recall the warm glow of the menorah, or waking up early to see the presents under the tree–these memories are indelible. For kids born in the 70s and 80s, these precious moments were captured in pictures that look pre-Instagrammed.

Encourage your audience to share their favorite memories and photos with your brand. Create a branded hashtag you can use on Instagram to collect cool retro holiday photos and the stories that go with them.

#3: Shine Light on a Worthy Cause

One of the most powerful ways your brand can get noticed this season is to turn the spotlight away from the brand. Instead, highlight a charity that your brand can support, and offer a way for your customers to lend their support, too.

British retail chain John Lewis came up with a great way to support a good cause last year. Their annual holiday ad campaign centered on helping lonely senior citizens. On , customers could watch a heartstring-tugging video and donate to the charity.

#4: Focus on What Your Customers Need

This time of year consumers are drowning in a flood of holiday-related advertising. Everything from $500 cell phones to $40,000 cars are positioned as perfect holiday gifts. Every retail outlet is playing some variation of Christmas music non-stop.

It seems brands desperately want to put their customers in a holiday buying mood. But that’s not what customers want. They want ways to deal with stress, or help finding the perfect gift, or a moment of silent reflection. B2B companies want help making their budget for next year, closing out 2016, making sure their customers feel appreciated.

Take some time to think about what special wants and needs your specific audience has this time of year. Better yet, ask a few of them. You could end up creating some powerful, useful content instead of more holiday dazzle. For example, last year on this blog we created an to help our audience.

#5: Sum up the Year

Not every consumer spins a dreidel or stuffs stockings this time of year. But the vast majority do celebrate the New Year. It’s a time to look ahead and to reflect over the past year.

If Christmas carols or Kwanzaa lights don’t suit your brand voice, New Year’s is still a safe bet. Take the opportunity to tell your current and potential customers about your brand’s year. Let them know how the company grew, what you learned, and most importantly how you are planning on treating them even better in 2017.

#6: Highlight What Unites Us

This season is about more than lighting candles and giving gifts. It’s a celebration, as the quote up top reminds us, of being alive, being together, and being halfway out of the dark. Your brand can celebrate these ideals–family, togetherness, love–without committing to a single holiday in particular. Instead of singling out a specific group, you can remind everyone we’re all in the same group. Regardless of race, creed, gender, or political leaning, we can all agree Nick Offerman is a national treasure:

What is your brand doing to make the holidays special for your customers? Let me know in the comments.

Stay tuned for pictures from TopRank Marketing’s upcoming ugly sweater and cookie bake-off events. Sound like fun? .

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kariquaas · 7 years

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Wow. It’s super cool to see lots of people out supporting musicians and art. Ryan Crowther, of Everett Music Initiative, is a gift to this community and I’m proud to know him. Thanks for bringing a glorious new vision of Everett to Everett, Ryan.

I bought my tickets early at the $25 for the weekend price. We missed the action Friday due to being sick all week (O) and me being gainfully unemployed, but contracting, seeking work, and just tired (me), and went out to dinner instead.

Saturday, we began the journey with a yummy dinner at J Ramen and Sushi, and then saw the following bands:

I Will Keep Your Ghost

Tilson XOXO

The Seshen

Cave Singers

Ghost was very good, and I wish I heard more of their set.

Tilson XOXO was totally surprising and fun. I had noticed the lead singer cruising around The Anchor wearing a knit cap and a letterman’s-like jacket. He must have been warm! When he got up to sing, the crowd got engaged and rocked and rapped with him.

The Seshen, taking the full stage at the Everett Performing Arts Center with a simple setup, was beyond magical once they started to play. With just a vocalist, a dude on bass, and a drum set, and I’m guessing one helluva of a computer sound generating system manipulating by foot (think Ed Sheeran), they filled that space and were enthralling. O bought their album the next day. We grooved to it on Sunday before heading out for more.

Cave Singers were an old fave. They are humble and clever. And, seemed surprised that the set went okay. Something must be going on in the background. We enjoyed their set and headed home.

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Sunday’s List o’ Bands:

Alex Johnston

The Winterlings

Kevin Murphy

Woodshed

Gunpowder Stitches

The SkyeMonkey

Planes on Paper

Lake

Courtney Marie Andrews

Karl Blau

Sunday I did the church thing, the Irishmen pub grub for brunch with my friend, Kimberly, and then I wanted to see The Winterlings, who I had seen last summer at Fresh Paint. I connected with my metal lovin’ friends, Gretchen and Jim, and ended up catching Alex Johnston’s set because of The Anchor starting late. I suppose that happens when you head home for the night at 5:30am!

Alex played solo on the keyboard lovely. He also played a raucous guitar, which was not my style, but good for him. Apparently, he’s a local Trinity grad.

The Winterlings are pleasant people and their set was calm and cool. I love hearing banjo and her sweet voice, and he plays guitar along with all kinds of gadgets with his feet. Let’s just say that I remain in awe of the joyful noises that one and / or just two people can make on stage!

We jetted off to see Kevin Murphy, who I first saw perform at the 100 Years Ago Tomorrow show. Kevin had written and sung a song about my cousins’ great-grandfather, Jefferson Beard, who was killed during the Everett Massacre. He sung it so sensitively, I wanted to hear him sing again. This time he had a bass player and drummer with him. It’s simple music with some emotional bursts. I, fortunately, had a chance to catch up with him later that evening outside when I was seeing what food options were still open on Sunday night on Hewitt. He was glad I came up to him again and that I had introduced myself back in November. The massacre is a local story that still has impacts today. And, as he realized writing the song, this person’s ancestors could be in the audience. They were. Kudos to him for acknowledging that.

We then went back to the Anchor for Woodshed, who I would describe as sounding like Metallica with a farm boy doing the singing and a combination Chris Cornell / Frank Zappa bass player, slamming on his bass while grooving all over that stage. They were super fun to watch. And, my metal friends were happy.

Gunpowder Stitches. I’m not sure I understand the name, but they do have a song called Gunpowder Stitches, were a little less metal and little more rock. A pretty standard band, we liked them, but were more excited about …..

The SkyeMonkey! I met these two, Tim and Joel, at Basecamp, which was Ryan’s office and mine for a while in 2016. They, too, had a rock feel. Now, they have this wild goth presence, cool screaming-like vocals, hooded drummer rocking out, and super cool vibe. Apparently, they just completely re-did their sound in the last month and half and this was the result. The audience was WAY into them, and they were super happy to get the feedback. Plus, Tim works for Kennelly Keys and they were a sponsor for the FVMF. Very cool. He also remembered by Everett Sunsets metal prints at Basecamp.

Our exchange:

“Why weren’t you at the Everett Maker’s Market yesterday?” – said Tim.

“I don’t really make anything.” – says me.

“You sound just like an artist. Beating yourself up.” – said Tim.

And, I sighed. It’s funny because I know I make something. I think that somehow I justify the making part to the lab I use and therefore it’s not me. I’ll get over it. I will. Right??

Carrying on with the music, I took off and went to Tony V’s for the rest of the night. I had read about Planes on Paper sounding like Simon and Garfunkel and I had to hear that for myself. They do have a lovely complementary sound. Their last song was haunting about hoping that love will last or be enough. I’d like to hear them again.

I found myself often wondering HOW this people met in the first place. In my youth I had a friend whose voice and mine together sounded magical. We sang something as simple as Twinkle Twinkle Little Star and it just worked. The “two sides of” belief. Either everything means something or it doesn’t. I tend to fall on the “everything means something” side. We meet people for reasons and who knows the impact that they could have. Some for a day. Some for a year. And, some for a recording contract! ;-)

Lake, the next band, was out of Olympia, and as I was eating my hamburger and tots, I wrote down these thoughts.

“Now at Lake – hippy, unapologetic, band. That’s their art.

We all make.

We all try to be heard.

We do.

Because we can?

Because we need to?

Because we’re bored?”

And, then came Courtney Marie Andrews. Ryan walked past me before she started to sing and said, “This is going to hurt.” Damn. That young woman can sing….and play….and communicate emotion. I found myself looking her up on the web and discovered that she was raised in Arizona, and was born after I graduated from high school. Wow. Stunning vocals and thoughtful, written by her, lyrics. I bought her CD, Honest Life, and had her sign it. I hope she keeps it up. What a treat. She was not to be missed.

I saw the first half of Karl Blau’s show and I described him, with the help of my table mates, as the country Jack Johnson. Smooth and sultry, I liked it, but it was time to go home.

This year’s festival was earlier than the previous years and I’m glad for that. It had less competition and the weather cooperated! I second Downtown Dave Ramstad’s suggestion of a fall festival as well. I think that Everett needs it and would support it. (Do it, Ryan! We’ll support you!)

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As for the photos, I took them all with my iPhone. I saw so many photographers about and was glad that the event was being documented so well. I did my best to capture the sunsets, and found it enjoyable to be amongst the many posts on Instagram.

I have done and do event photography so keep me in mind for your future events. My aim is to make people feel like they were there too. This upcoming weekend (April 8, 2017), I’ll be photographing the Pioneer Square Spring Clean. Come on down and make Seattle pretty!

Thanks for the music, Everett.

Reflections: Fisherman’s Village Music Festival Wow. It's super cool to see lots of people out supporting musicians and art. Ryan Crowther, of…

#art #creativity #Everett #festival #fvmf17 #Music

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thewidowstanton · 7 years

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Lise Pauton, contortionist

French performer Lise Pauton knew she wanted to be a contortionist from an early age. She grew up in her family circus school and from the age of 14 studied at the Ècole Nationale de Cirque de Châtellerault near Poitiers, gaining her Bacalaureat in circus arts and literature. She has performed her solo acts La Poule Noir and La Poule Blanche internationally, has created two solo shows – Cri de Coq! and Au Fil des Torsions, has her own company, Raiemanta and has appeared in films. Lise also models for art projects.

She co-created the solo show Heart with Hamburg-based Italian director Sebastiano Toma, who has directed The Tiger Lillies and created the show Little Big World. (For my review of Heart click here and scroll down to 'Heart of the Show’.) In-between sessions of teaching in Toulouse, she tells Adrian Arratoon about taking advantage of serendipity and how she wants to move the art of contortion in a new direction. How did you start in circus? I was born in 1989, and at this time in France new circus arrived. My grandfather and mother had had a roller-skating school, and he was inspired by traditional circus and tzigane music. We were aware of the new wave of circus but we were in the south of France, in Provence, far away from Paris where Annie Fratellini's circus school was. So it was only on TV that we could see what was happening in the world of circus: the first show of Cirque du Soleil, for example, where you could start to see different things happening. My mother and my grandfather were a little bit crazy people, really open; they’d put me into a capoeira workshop or into an improvisational theatre course. My grandfather and my mother were not professional circus artists but they opened a circus school. They were into sports and roller skating and they decided to learn how to teach acrobatics and trapeze. My mum did a workshop with Annie Fratellini when Annie was in the south of France with some teachers. They never tried to become circus artists. They were really passionate about circus but they wanted to fight for this circus school for the children in the middle of the countryside. It was never about the money or having a salary; it was really for the children; it came from the heart. The school was called Les Patineurs de Valaurie – Valaurie was the name of the village where I grew up. Now the circus school is called Cirk'Onflex, and mixes circus and contemporary dance.

What was it about contortion that you fell in love with? My parents were working a lot, with the circus school and a roller-skating show. One day my grandfather said it was time to put me into school: “She was supposed to start two years ago!” To give me motivation to work at school he found a trick. “Oh, Lise, every day I will record on to VHS cassette something about shows or circus, or clowns like Charlie Chaplin, Laurel and Hardy or the Monte Carlo Circus Festival.” Every day I'd finish school and quickly do my homework, dying to see what the new recording of the day was.

One day I saw a show, like Cirque du Soleil, with someone like Angéla Laurier, who makes some spider contortion. Every time when I was watching contortionists when I was a small girl, four, five years old, I said, ‘Oh, me too! I want to put my foot on my head!’. Trapeze? It was, ‘Yes, nice’. Juggling? ‘Oh [shrugs]’. But contortion? Just putting my foot on my head, it was, ‘Oh!’. And I asked my grandfather and he said: "Oh, OK, let's try." And as a child it was really easy to do, and I've stayed passionate about it ever since. As you become older does contortion become more difficult ? When I was a child it was really easy until I was 11 and had to spend time doing schoolwork. Then a couple of acrobatic contortionists arrived in our area. They wanted to meet my mother because they wanted to create their own circus school but didn't know how to do it. My mother said they could spend a year teaching at our circus school. One was called Emmanuelle Perre, or Manou. When I was 13 or 14 I watched her and learned how to warm up. I thought, ‘Wow, she's so professional, she does handstands! I want to do that!’. So when I spent a year with her I wanted to become like her. Did you always want to be a performer? Always. From the day I told my grandfather I wanted to put my foot on my head. I was a little girl who was always dreaming about doing circus. At one point I thought about training to become a cinema actress but that idea didn't last very long. I knew circus was what I wanted to do. When I was 14 I went to the school in Châtellerault. During the week I stayed at the school and at the weekend I was with a host family. Then when i was 17 my parents helped me to rent a studio flat there. I learned to be independent really early.

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As well as Cri de Coq!, you have two solo acts about chickens: La Poule Noire and La Poule Blanche. Do you keep chickens in your garden? Do you eat chicken?  Ha ha, it's a crazy story, because after going to the circus school in Chatellerault I was 18 and I tried to get into some high-level circus school and nobody wanted me, because in those kinds of circus schools you need acrobatics, and me, I was really not interested in this kind of thing; I just liked the artistic part. And people would say: “No, Lise, you have zero out of 10 when it comes to power…” So I went to Toulouse because the school there, the Lido, was more open, they looked first at the person and how she wants to work with the technique she has; they look at personality first. And the Lido Circus school said I was too young to join because I was only 18. They said I had to be more adult and more psychologically prepared.

But they said: “Welcome to Toulouse; we will look at you and maybe after one year you can try again.” There was a really good teacher called Pascal Angelier, from traditional circus, who was really good at teaching handstands. I was thinking. ‘Wow, I can go to Toulouse and take free lessons from him in the evening’. He gave them for freelance circus artists. And every Wednesday at this circus school there is an open stage, including one for freelance artists, and they said if I stayed in Toulouse I should perform in that show so they could follow what I was doing. The first time I went to the open stage I was really scared, you know; it was a big stage with so many people who come to see the shows, for free. I thought: "No, I will never do that!"

And I waited and I waited and at the last open stage of the year, the director of teaching came to me and said: “Lise, you know, if you want to go to this circus school we ask you to do this open stage, and there is one last opportunity.” So I created The Black Chicken. I was looking for something I could do, I didn't want to do an improvisation, there are 300 people there… I just thought, ‘OK, take a big jacket and work a little bit with your hand and create a story about a woman who's a little bit strange, a bit like a classical dancer, a little bit eccentric’. And it became Black Chicken because everybody said to me: “Lise, I don't know if you realise but you really looked like a chicken when you were performing that!”   And I never went to that circus school because I got a contract with this chicken act. I never thought I would be paid for doing this act!  

Your story is inspirational for people who don't get into circus school; iit shows that there is an alternative.  Yes, but you need to be really strong because all the time I was really scared and so young, and alone all the week. I rented a little studio by myself to practise. And I had no structure, I didn't go to parties, I just worked. But you have to be strong otherwise it can be really hard. 

 How did you meet Sebastiano Toma?  I met him at the Sol y Circo Festival in Germany. One day someone said I needed to show my Chickens in Germany, in varieté. I did not know what varieté was, and the only contact I could find, on Facebook, was Tobias Fiedler, who ran Sol y Circo. So I wrote him a message, not to be considered for his festival at all, just to send him my video and to contact someone who knew varieté. And I got a message saying: “Hello Lise, if you like you are invited to perform at the Sol y Circo festival: it's in one month.” He said casting was over but invited me anyway. So I went and everyone was a little bit surprised, the jury hadn't seen me before. That's where I met Sebastiano. He looked at me and said: “Hmm, interesting… interesting…”

I knew him by name because when I was in the Châtellerault circus school there were some flyers for shows in the hallway and one of them was for a Tiger Lillies show that he was involved with. I remember it because there was a photo of a contortionist on it! And I realised that he was always working with contortionists. I thought that maybe one day I would have the opportunity to work with someone like that.   On the last day of the festival there was a party, and a friend said: “Lise, you have to go to the discotheque, to the bar.” And I hate that sort of thing, but she said: “Everybody goes there, it's a celebration, you need to go there.” So I said: “OK, I'll go but I'm not going in, I'll stay on the terrace [laughs].” And Sebastiano was there because he didn't want to go inside either. So we just sat and talked. And then we understood we had lots of things in common.  

How long did you work on preparing Heart?  Two years. Sebastiano had never worked with someone doing a solo before; often he has a lot of people on stage, and many times works with people who already have an act, so we spoke about how to start from zero and create everything. He is in Hamburg and I am in Toulouse. We tried to find a starting point for the creation. I also started a contract with GOP with Chickens, and whenever I had a break from those shows I'd go to Hamburg. For me it was, whew, really hard. We spent a year doing that and we finished in France.  

In Heart you're on stage alone for more than an hour. It's obviously physically hard work but is it mentally difficult too?  I'd already done two solo shows before but what is good with Heart is we really built a strong story, action and reaction, so if we want to change something really small in the show everything around it broke because it's all so detailed. I never have a moment where I don't know what I am doing, it all flows and is controlled. I just have to push my emotions and let myself go. But the skeleton of the show is really strong. Everything is so clear.  

What do you have planned for the rest of 2017?  Lots of things! I have a company, Raiemanta. I am teaching a lot; we're waiting to hear on a few things with Heart. I'm doing my chicken shows. I am performing Le Fil des Torsions in the Musée Soulages in Rodez, one hour from Toulouse; they are taking a contortion show, and I'm so excited about that. I'm creating a new short show called Harmonia; we started rehearsals in January and we'll finish in June. It's a sort of continuation of Heart: I want to make three international collaborations; with Sebastiano it's French-German; Harmonia is French-Moroccan, and in two years' time I'm making a French-Ukranian show with someone who lives in France. It's interesting to have other influences, moods and energy.  

And you're as committed to contortion as ever?  I have really changed my point of view about contortion. I'm 27 and I started doing it when I was four. More and more I enjoy changing the language of contortion. It is really extreme but I like to stress the ‘torsion’ aspect of it. I want to push contortion more into a 'torsion' way because 'contortion' is something so closed, where you try to make your body so small. But with torsion you can use space. I really hope one day I can push a new movement in circus for contortionists and break this traditional code of contortion from Asia or from yoga. What I do is different. I hope I can create a new body language.

vimeo

Photo credits: Sebastiano Toma; Lise portrait: Acey Harper

Lise Pauton appears in La Poule Noire and La Poule Blanche at the Festival International des Clowns de Tergnier, in Tergnier, France on 17 March 2017, and in La Poule Noir in the Festival Boules de Cirque in Toulouse on 24 April, and in Au Fil des Torsions at the Musée Soulages in Rodez on 26 April. Heart is available for booking.

Lise’s website; Lise on Facebook

Follow @TheWidowStanton on Twitter

If you enjoyed this, read our interviews with contortionists Raphaëlle Boitel and Leilani Franco

#Lise Pauton #contortion #contortionist #sebastiano toma #heart #la poule noire #la poule blanche #circus #variete #gop variete #interview

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bikechatter · 7 years

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Portland Resistance 2017: Bikes and YouTube stars

(Photo: J. Maus/BikePortland)

[Note: This post was submitted by BikePortland Subscriber Kiel Johnson (a.k.a. “Go By Bike”) through our Subscriber Post system. We think it deserves a wider reach so we’ve posted it here on the Front Page. Remember, if you are a subscriber you are also a contributor! We would love to amplify your voice and share your experiences with a wider audience. Sign up here. – Jonathan]

What does mass resistance look like in 2017 Portland? The marches we saw over this weekend were the largest since the Vietnam War, unless of course, you follow “alternate facts”. If you look at the history of resistance in the world, it is constantly changing. Resistance must conform to the technology and public spaces of that period. Martin Luther King used television and the American Revolution used pamphlets.

But what will mass resistance look like in a city of highly informed people with access to more technology in their pocket than NASA used to get to the moon? Combine that with a city that has been building more public spaces with bicycle, pedestrian, and transit access faster (although not fast enough) than any other time in the history of cities. Over the next four years we will find out what this resistance looks like but here are a couple of thoughts on what could be important to these new movements. \

Phoenix has 2.5 times our population yet we had 5 times the number of marchers. There is no place for 100,000 people to go in Phoenix and no way for them all to get there.

Just for a minute imagine if every one of those 100,000 people who attended Portland’s Saturdays march drove by themselves. Talk about disruptive! It simply would have been impossible. Also imagine that Portland had kept its highway instead of building Waterfront Park. There would have been no place for protesters to go. Phoenix has 2.5 times our population yet we had 5 times the number of marchers. There is no place for 100,000 people to go in Phoenix and no way for them all to get there.

I believe that in the resistance of the 21st century the bicycle will play a crucial role.

The 2016 Pedalpalooza Kickoff Ride rolls up SE Belmont. (Photo: J. Maus/BikePortland)

People bicycling to large marches are simply the most efficient and easiest way to get the most number of people to attend. The tools that we have developed during Pedalpalooza are the tools we will need to use to create effective resistance. Shift’s Pedalpalooza — a month-long festival of 300+ free bike events by and for the entire community — has been the training ground for a huge number of potential future march leaders. The Naked Bike Ride has taught us how to lead a huge group of people and the BBQ grills many have built onto their bikes can be used to feed those marchers. The sound systems we have built on cargo bikes will amplify the music that transforms a park or street into a place of resistance. With this background, the marches of the future will not be monotonous shouting, “whose streets, our streets” over and over and over again, because that can be both annoying and uninspiring. These marches will be creative expressions that are engaging and thought provoking built of the back of the bike fun movement.

Technology is a double-sided blade. At its best, it allows for the diffusion of power. A dude can start a blog about bikes for free and influence the city as effectively as a non-profit with a million dollar budget. What is exciting is that this power is accessible to all individuals, not just cisgender men. In the next four years we are going to see an entire half of the population, women, who have been historically left out of decision making process, organizing and participating. We will have ethnic groups and people of different backgrounds being able to participate. Marches will look less like a group of angry agro dudes dressed in black ready to scare people. Instead marches will get tweets from the police department congratulating them on how well organized and peaceful they are. Resistance by destroying stuff just is not effective right now.

I am excited for what a new generation of resistance will look like and the leaders that it will create.

After the snowstorm our new city councilor Chloe Eudaly started a Facebook chat asking what the city could have done better. She got over 83 responses and she engaged with those responders. Meanwhile, Dan Saltzman’s, who runs PBOT, only Facebook activity over the last year has been to update his cover and profile photo. Amanda Fritz might spend $350,000 “talking” to neighborhood associations about what the city is doing about homelessness but for free Chloe just engaged an entire open house of citizens about how our city can work better.

Something that needs to happen locally is the overthrow of the neighborhood association system. They are too time consuming, not representative, and have a false sense of power that destroys community and encourages reaction instead of positive action. I plan to write more on this topic later.

The other day, my wife, Kate and I were watching various Youtube stars. These stars are people who have made a living by having a somewhat popular Youtube channel about cooking, health, movies, politics, or just random thoughts. We are both very tech savvy but we realized that even our generation, folks who are 30, would not have really thought of using Youtube the same way people born 5 years before us have. The resistance of the 21st century will be led by young people because they think about new media in ways other generations just cannot. To quote a Nobel Laureate, “Your old road is rapidly agin’ Please get out of the new one if you can’t lend your hand.” The Youtube stars are coming for you and with the speed that technology is changing that old road is aging a lot faster.

I am excited for what a new generation of resistance will look like and the leaders that it will create. I think for the first time we will have strong young female leaders from all different backgrounds. The diversity of the 21st century resistance will be its strength. What is crucial is that people in cities continue to demand that we create the public space and infrastructure for this resistance to happen. If we do not the scary dudes in black might take over.

— Read more Subscriber Posts here. Follow more of Kiel’s work and thoughts on Twitter at @go_by_bike.

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The post Portland Resistance 2017: Bikes and YouTube stars appeared first on BikePortland.org.

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