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rossodelgiorno · 3 years

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2020/ Chain of Fools

2020 was the year I adopted a boiler suit and gas mask as a daily uniform. The world had gone into a global lockdown to combat the COVID19 virus which meant we were only allowed to leave our house for essential reasons such as grocery shopping and exercise. When outside, we were government mandated to wear face masks to prevent the spread of the disease. They made me feel like a muzzled dog and I resented no longer being able to smile with strangers on the street. Feeling like a prisoner in his own home and under extreme stress from job insecurity, my boyfriend Jake’s amphetamine addiction began to spiral out of control.

As a result of Jake’s addiction, we had accidentally befriended a posse of drug dealers and prostitutes- bonded by our love of having a good time and a general disregard for consequence. We met Dani through a call girl friend of mine who had realised the difficulty of making a living through writing online fashion content. Dani had big brown eyes, fat, botoxed lips and dressed only in high end labels like Gucci and Balmain. Born into a wealthy family, she had acquired a taste for expensive things but lacked the work ethic to maintain this taste without selling her body for sex. Dani began to visit more throughout the lockdown to deliver Jake drugs, hidden in a bag of a groceries. One night, she played Carole King on our old vinyl player, while Jake rolled us a joint to share. I flirted with them both, knowing that it would lead to a threesome. We smoked Jake’s joint, snorted lines of cocaine off each other and then took turns going down on each other.

A week later, Dani introduced us to a crew of “script kiddies”- long haired, internet hackers with a love of mumble rap, cryptocurrency and ketamine. I made cocktails for everyone and established that one of these kids shared a mutual friend with Jake. They seemed fascinated by the genuine sexual chemistry between myself, Jake and Dani and expressed gratitude for our generous hospitality. Eventually I came to the conclusion that by associating us with this crowd, Dani had managed to successfully pray on the vulnerable- trusting junkies like us who were lax with internet security and keen for a good time. In retrospect, I wish I had known that Dani was a hustler at heart- making money in any way she could without considering the impact of her choices. At the time however, I felt like we were fully living life in the moment- something I was certain would bring me happiness, meaning and didn’t question her motives for a moment.

Ella, Dani’s best friend, had a boyish pixie cut, high cheekbones and was tall and slim. She had gradually joined in on our shenanigans, along with Mark, a dealer with a steady supply of the best gear available north of the river. We all hung out together in our plant-filled, converted warehouse listening to electronic music and sharing stories about our favourite mind-altering substances. My stories were consistently focused on MDMA. As a notoriously private person, I’d discovered MDMA helped me open up and allowed me to dance, free of fear of judgement. It had also helped Jake open up about the sexual abuse he experienced as child, a fact I doubted would have ever come up without the influence of a truth serum and something which I was certain had driven him to substance abuse in the first place.

While we laughed, chatted and danced with Dani and Mark, Ella, who claimed to be a part time poet and part-time model, entered a viral script virus onto our wireless network by requesting our wifi password. Something we provided willingly, without second thought. This meant remote access to every digital device we owned and access to all stored personal information including scanned copies of our passports and birth certificates.

The issue with Mark, despite his criminal lifestyle, was that he was excellent company. Intelligent, engaging and a DJ in his spare time- we thrived off his love of hip hop and old-school funk. Similarly, he thrived off our property location in the Inner North- close to his regular customers and discrete enough from the prying eyes of authority. We welcomed him into our home with open arms, deprived of social contact through social distancing practices enforced by the pandemic. We held COVID19 illegal gatherings where we got high off Mark’s supply, enjoyed each other’s company while Ella hacked our electronic identities. When you’re lonely, it doesn’t really matter if others are using you and you’re using them. As long as everyone is filling a clearly defined role, the maladaptive social ecosystem continues to function.

It’s unclear exactly how many international drug smuggling routes were established using our stolen online identities before Jake clued on that something wasn’t right. He told me that he had been locked out of his email account, that the speed of his phone had slowed and that he could hear clicking noises during his phone calls. He was certain that his was a breach of online security and started to question the motives of our new friends. I wrote him off as crazy, blaming his excessive use of amphetamines and the psychological effect of social isolation. I was determined to keep my online identity public, obsessed by the idea of becoming the next millennial therapist and too blinded by Dani’s beauty to believe that she would want to harm us in any way.

Eventually Jake’s distress became too extreme to ignore and he shook me violently one night, yelling at me to believe what I had assumed was a paranoid conspiracy theory. A sinking feeling in my gut became apparent when he started to coherently piece together his concerns about his online security issues. I realized that my sense of reality had been clouded by my lust for Dani and by a dark depression that had developed through my work as an essential worker during a pandemic. Based on Jake’s erratic behaviour, I knew we had to get out of the warehouse immediately, but I had no idea where to go and was fearful of drawing attention to any law-breaking activity when police presence was so prominent.

We agreed to seek refuge with our friends Trish and Rick, former 90s British ravers who had channeled their drug-fuelled benders into successful and respectable careers. I called them panicked that night, shaking and rambling about what had happened. Without hesitancy, Trish told us to come over right away. Rick’s brother back in the UK had recently killed himself and they were struggling too. Trish and Rick lived in an affluent area in the inner East which meant we needed to blend in quickly through a disguise of expensive athleisure and an almost painful sense of normality. It appeared that our efforts at disguise were successful and it seemed to result in freedom from any unusual online activity on our devices. We bought new phones, changed our phone numbers, email addresses and disconnected from the outside world for an entire week. We spoke about going to the police, however we both agreed that this would place us at too much risk to the criminal world to be a viable option.

When your online identity is stolen, you quickly start to daydream what it would be like to steal someone else’s identity. For example, what exactly would you do with those proceeds of crime? Which tropical island would you escape to, what designer clothes would you wear, which car would you drive? I quickly became entranced and jealous at the thought of this fantasy life, but then spent time reflecting on my own morality and these feelings subsided. Instead, an intense anger developed at the thought of others taking advantage of Jake and his mental illness. High on a sense of ethical superiority and new found fury, I decided to employ my favourite psychological defense mechanism, repression, to cope with my latest traumas. May you rest in peace, memory, I said to myself before engaging in my daily mediation ritual.

While repressing my consciousness, I also began to focus on the importance of social support. I knew this shit was important but didn’t fully understand until Trish brushed my hair one night, my arms too frail from fear and stress to function. Trish and Rick played familiar Britpop, drank tea and encouraged us to embrace the therapeutic benefits of music through use of the guitar and keyboard that we had brought to their house. We took turns cooking for each other, played board games and counselled each other through each personal problems, one at a time.

Jake and I stayed with Trish and Rick for two weeks until we could establish an exit plan from the city. We migrated to rural Victoria like many other Melbournians, traumatized by the lockdown. The pace in the country was slow yet calming and people genuinely seemed to care about your welfare when they inquired “How you going, mate?” After such an extended period of social isolation, many of us forgot how to interact with others. We valued and craved human connection more than ever, and yet we seemed scared of what we might connect with. We continued to develop our own deformed version of sign language to communicate through the face masks and focused on re-developing social skills that had been lost through extended disconnection.

Jake and I continued to battle through the challenges of online identity theft and the consequences of his addiction issues. Jake’s substance use had subsided substantially without the influence of Mark and Dani and we eventually adjusted to living normal, routine driven lifestyles. He had cycled through periods of problematic use before, however I still felt somewhat shell shocked by the intensity of his most recent relapse. However, one day late in December I found myself wandering through the tranquility of the Otways, fully freed from the constraints of the lockdown which had finally lifted and contemplating my progress in life since leaving this place as a teenager. The rainforest sounds were vivid and the smells of the ocean salty in my nostrils. I wasn’t where I had planned to end the year 2020, but I was alive and I had Jake. And for that, I felt eternally grateful.

Rosso Del Giorno

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dailytomlinson · 5 years

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It’s been a long and turbulent four-year road for Louis Tomlinson. Since his band, One Direction, announced their ‘indefinite hiatus’ in 2016, Tomlinson has struggled to find a professional path that suitably represents him as an artist. As he gears up to finally release his long-awaited debut album Walls this coming January, the singer-songwriter finally feels comfortable in his own skin, finding his own unique Britpop-inspired sound which has been spurred on by the resentment towards a diluting of his vision in a bid to find radio play in the States. Tomlinson, it is safe to say, has finally found his feet and, with a new record label firmly behind him and a renewed energy propelling his every move, the 27-year-old is now a man on a mission with two fingers in the air and a point to prove.

His remarkable story really needs no introduction. Plucked from a crowd of hopefuls auditioning for the X-Factor in 2010, the then 18-year-old singer was placed alongside Niall Horan, Liam Payne, Harry Styles and Zayn Malik by Simon Cowell much to the joy of their growing social media fanbase. Just 12 months later their debut album, Up All Night, was released and propelled the group to international fame. In the six fast and furious years as a band One Direction tour relentlessly, released five hit records and became unfathomably rich in the process. For Tomlinson, however, the immediate highs were quickly met by severe lows when it all came suddenly crashing down. The end of the band, the media relentlessly pursuing his private life, personal tragedy and more have followed. Now though, with a renewed vigour and clarity for his future, Tomlinson has picked himself up and is about to carve out his own niche of pop music. I met Tomlinson in a back bar of a central London hotel as I self-consciously began to consider the possibility that I may be underdressed for the occasion. Thankfully though—and much to my relief—he arrived casually dressed in a brown quarter-zip jacket, jeans and Adidas trainers which arrived as a refreshing change in reference to the typical, modern-day pop star. Having travelled down to London from Yorkshire that day, with my editor’s words ringing in my ears, the somewhat opulent surroundings of our meeting lacked the relaxing edge I was hoping for. It must be said that interviews with musicians of international fame can be tricky — especially when they have a new album to sell. With media training, PR managers typically watching over and a sense ill-trust with the media, it will come as little surprise that popstars can be standoffish in interviews. Despite my initial trepidation though, Tomlinson greeted me with immense warmth and immediately offered to get a couple of beers in from the bar—the first sign that our conversation would follow the laid-back pattern I was hoping for. After we’d sat down and had a sip of lager, our Yorkshire accents clashing, my mind turned to his recent performance of his last single ‘We Made It’ on Children In Need. Tomlinson looked in his element, like he’d finally found his feet as a solo artist—something that hasn’t been an easy adjustment for him to make in the last few years. “Yeah, naturally I feel as any fucking solo star finds – the longer you’re in it, the more experienced you get, the more confident you get. I think it took me a second to work out who I am musically, to fully detach from One Direction and stuff but I feel like I’m there now so, naturally, I’m more confident in my songwriting ability, I’m more confident performing, singing and all of that, so it feels good.” Following the split from the band, it did feel from the outside looking in that there was no clear direction where his solo career was going to take him. With collaborations with the likes of Steve Aoki and Bebe Rexha, both of which performed commercially well, there was a creative direction that left more questions than answers. Earlier this year, he took to social media to make a statement to claim that he was turning a page, that he was fed up with writing to a formula in a bid to chase radio play and instead he wanted to make music he loved. That moment was the beginning of the second chapter in his solo career, which he expands on looking while back at that difficult time with more than a pinch of honesty as always, disclosing: “Yeah but I’m not going to lie, it’s still something that I’m fighting up against if I’m being honest. I mean, because there’s constant opinion around me and you know a lot of people do want to focus towards radio—which I do understand—but what bugs me is just how much it limited me — especially because what I grew up listening to on pop radio is very different to what’s on pop radio now and because I couldn’t see a place for myself. I thought that it wasn’t not going to be authentic because I’m going to be trying to sound like what’s on the radio. Today, in 2019 more than ever, people can spot bullshit. So yeah, I think since that moment I’ve always been conscious of that and as I say it is a constant battle, but I think I’m winning at the moment.” The state of mainstream radio is something that Tomlinson is passionate about. As an artist who aims to make songs that are accessible to the masses without compromising integrity at the same time, Louis appears to be well versed on the shift in the popular musical landscape: “If I’m being honest, I didn’t actively search for stuff because it was on pop radio,” he said while discussing the change in approach to consuming music. “Especially a band like Catfish and The Bottlemen,” he adds after a moment of contemplation. “When I was growing up they would definitely, definitely, be on every radio and I think those bands are very important and now I have to actively search for them or listen to the right station.” He continues, “Also, I think it took me a second to come out and say what my influences are because I know what people expect from someone who has been in a boyband and stuff like that.” With this lightbulb moment, Tomlinson wanted to detail more about the inner workings of his creative process, how collaborating with like-minding musicians helped free his thought process. “Once I’d had this epiphany and put this message on social media, at that point I’d done four songs that are still on the album. I think ‘Kill My Mind’ was actually a turning point, I wrote it with a guy called Jamie Hartman and the next session we had together we wrote ‘Walls’ which is the title track for the album and is going to be my next single. I think from that moment it unlocked something and we got some momentum so then the second half of the album was written relatively quickly but I think as I say it being transitional I’d have loved 10 ‘Kill My Mind’s’ but maybe the next record.” ‘Kill My Mind’ looks and sounds like the first step towards the definitive direction that the Yorkshireman is aiming for. It has a punchy Hot Fuss era Killers’ chorus and is more reminiscent of the type of music that Tomlinson himself loves. “That’s probably the proudest I’ve been of a song because that is genuinely a song that I fucking love listening to and that’s not necessarily always the case when you’re playing for radio all the time. It didn’t get the attention that I think it quite deserved but that’s the way it is.” The shift towards the guitar-led music, which bucks the trend with current chart-toppers, is the path that the 27-year-old is determined to follow. A recent writing session with Australian indie giants DMA’s had popped up in our conversation and the beaming smile across Tomlinson’s face said it all: “I’ve hung out with those boys (DMA’s) actually, one night because we were in the same studio and I’ve written together with [them] before,” he said before clarifying that the drinks were flowing which resulted in an unfinished recording. When probed on whether this is something he’d like to re-visit at a later date, Tomlinson expanded with an eye firmly on the future: “The DMA’s session was a bit of an experiment, to be honest, when I look at my solo career I’m looking at it as a five, six or seven-year plan. I realise this from doing the DMA’s one, I would fucking love to do an album full of them but it’s a transition you know what I mean, I’ve got to understand the fan base and what they want. I don’t want anything to be so drastic so in my eyes, it’s a two, three even four-album progression before I get there and I also think to write those kinds of songs that I love I need to have more experience as a songwriter as well.” For someone who has had such rich successes in their career to date, the singer-songwriter does seem to have struggled with his self-confidence since going solo—but this year seems to have changed that. One song that stands out is ‘Two of Us’, a track which was released earlier this year is a tribute to his late Mother who tragically passed in 2017. Tomlinson’s life was then struck by more devastation following his sister’s sudden death in March this year. ‘Two of Us’ clearly carries a heavy weight of emotion. Created from the inner workings of Tomlinson’s grief, the song is by a distance the most personal release in his entire career to date. Despite that, the track manages to find the universal within the personal as it’s lyrics resonate for anyone who has ever lost anybody close to them—myself included. While our conversation remained on this topic I was keen to know whether these heart-breaking events had impacted his professional epiphany, whether the personal grief had allowed him to stop worrying about the chart and instead focusing more on enjoying the ride: “When I wrote ‘Two Of Us’ that was something I never really had with music before where I like to think every lyric has meant something. There was a different emotional weight with that song and just hearing people’s stories about what it meant to them and how they related to it, that was amazing for me.” “If I’m being honest what made me have my epiphany was me spitting my fucking dummy out because I was sick of being put in writing sessions which I couldn’t relate to, or people trying to pull me in a certain way to work on American radio. I could probably have commercial success like that, but I’ve got the luxury of having had that already with One Direction and I thought ‘what does success mean to me?’ I just thought I’ve got to follow my fucking heart and if I can win like that it’s like a double win you know what I mean.” One Direction’s immediate success was unprecedented for a British boyband. Together they conquered the world with their debut Up All Night going straight to number one in the States and shifting more than 4.5million copies globally. Just one to this moment, Tomlinson was an 18-year-old living for the weekend in Doncaster—but he was determined not to let his newfound fame change him: “Yeah I was always pretty resistant to it [fame] to be honest, I always say that when I got famous, when I first got put in band, that I was having the best year of my life. So, it was a lot to deal with to leave my favourite year behind and to be doing something else where you’re working really hard. The personal and professional problems that have occurred in recent years appears to have given Tomlinson a remarkable sense of life experience. Despite still being so young, despite having lived a whirlwind life, he still has the ability to self reflect on with a grounded honesty. “Being from Donny you don’t expect to get that kind of opportunity and I then got put into the band and then had to deal with everything on the job. Honestly, it was a fucking incredible time in my life that shaped me as an artist and shaped me as a person, I saw some amazing things but it is also nice now to have a little bit more free time because we were so fucking busy and also you know stand on my own two feet and say this is who I am.” “As far as what’s on my checklist of a credible artist you know they have to write their own tunes, that was always important to me and I did a lot of writing in the band which I think gave me the incredible experience to write now. It was like a crash course, there were so many sessions and I think it’s put me in good stead, but I feel like I’m always getting better as a writer man I feel like with every song I learn a little bit more.” Although, it’s clear from speaking with Tomlinson that he looks back on those years he spent with the band with all the fondness in the world. Yet the media attention that came with all the success was something that got the better of him at times. “That was hard and I’ve often envied artists from an era where smartphones weren’t around. There were definitely some days where it got the better of me. I suppose you’ve got to be selective on where you go and I learned the hard way from a few different people that you can’t trust. Some people want something out of you and it took me a second to understand, but again I think that helps me have a thicker skin in the real world outside of my job. There are times when I’ve gone through difficult things in my life and I’ve thought certain people haven’t been amazing but it’s part of it, fuck it.” As our conversation then meandered toward the split of the band and what life was like for Tomlinson after exiting the world of One Direction— which was all that he had known for the entirety of his adult life up until that point. A sense of honest emotion entered his voice, a moment that seemingly suggested that this permanent change was something that was taken from his own control: “It was good to be back doing normal things but I wasn’t ready for the band to go on a break and it came as a shock for me,” Tomlinson exclusively told Far Out Magazine. “It definitely wasn’t my choice but I understand why the decision was made and there’s a good argument for that. I’m enjoying expressing myself now but it rocked me for a time and for a bit and I didn’t know what I was going to do,” he said, vehemently. From the tone in his voice, it is obvious that the subject is still a relatively raw one for Tomlinson who initially struggled to find the right sound for him following the split of the band—a factor stemmed from his initial reluctance to move solo. From the gravitas of the moment to the importance of his first steps back into music, it was clear that Tomlinson wasn’t ready to be going out on his own so soon after the band’s breakup—a learning curve which other members of the group seemed to overcome in different ways. The break was initially thought to be just that ‘a break’, but nearly four years after the announcement there are still no signs that the group is entertaining ideas of reuniting anytime soon. With Louis Tomlinson set to release his debut album in January, Liam Payne’s debut LP1 out next month, Harry Styles’ second offering, Fine Line, being made available on December 13th and Niall Horan working on the follow-up to his 2017 Flicker, the One Direction members are firmly in solo mode. Tomlinson acknowledges that during the final One Direction tour he began to accept that the break was inevitable, admitting: “It had kind of been brewing and we knew the conversation might be coming around but it was just one of those things. It was always going to happen, we were always going to take a break, but I think there are always people who are going to take things better than others.” Looking on the bright side, however, since the break he has been allowed to live a bit more of a quieter life. From speaking with Tomlinson I get the sense that he’s in this because he loves the music, appreciates the love he gets from fans and loves playing live. However, the celebrity lifestyle that comes with it isn’t why he’s in this game. “I think I can definitely have a bit more of a balance now, there are obviously times when I’m releasing songs or releasing album when it’s really ramped up and It’s hard but definitely easier in those off times to have the balance because otherwise when you’re so busy it’s impossible to literally fit everybody into your life. It’s definitely nicer having more time to do normal fucking things,” he adds with an almost sigh of relief. Tomlinson’s solo career, which has found its feet with emphatic effect and is currently flying high with a sold-out world tour and highly anticipated debut on the horizon, was something that the singer himself had never initially envisioned. With Tomlinson originally wanting to take a back seat in the music industry following the end of the band, he revealed exclusively to Far Out: “I’m not going to lie it hit me hard but it definitely inspired me to get on with my own solo career because it wasn’t something I was always going to do. I was just going to write songs and just hopefully send them to other people and stuff like that, but everything happens for a reason, so they say anyway.” As the careers of all five members of the band have all taken off, with each turning into different avenues sonically, our conversation then turned to the competitive nature between the band since they went their separate ways. Typically, the avid Doncaster Rovers fan opting to use a hugely specific football analogy to describe the relationship with his former bandmates: “I could be wrong but I think we’ve all got that in us, there’s a competitive side to everyone. I can only speak from personal experience, and as time goes on you understand the differences. It’s not all that relevant but I liken to the feeling at first was that you’ve all been at Barcelona’s youth academy, so we’ll call One Direction ‘Barcelona’ and then we’ve all been put off at different clubs and that takes a second to understand and compute but we’re all still lucky to be able to do it as solo artists.” Having time off to relax over the last few years for the first time since stepping foot for his X-Factor audition all those years ago, Tomlinson seems to have returned with a renewed love for music and everything that comes with it. For a while, it appears the music was falling second in line to all the hysteria that surrounded his fame—a situation that has been duly rectified. Next year will see him return to Doncaster as part of his world tour for a very special homecoming and, with that mention, his face lights up with a grin on his face the size of South Yorkshire: “It’s going to be class, I can’t wait for Donny Dome. I don’t feel like my career has fully started until I do that first tour show, it’s all well and good writing songs, releasing songs, doing all the promo and everything that comes with it but the most important fucking thing is that you put on a good show. I started realising the longer that I’ve been in this that there’s a level of importance in these nights to people, especially the avid fanbase that I’m lucky enough to have. You can see from the reactions and look into people’s eyes and see what certain lyrics meant to them.” What struck me the most from the time I spent with the singer-songwriter was just how grounded he was, seemingly bereft of any level of arrogance and still just that same local lad from Doncaster who began this journey ten years ago. His working-class Yorkshire heritage, he told me, is what has made him the man he is today: “You’ve got to be fucking humble where we’re from you know what I mean? Because otherwise you get called out like ‘who the fuck do you think you are?’”. The greatest takeaway from our conversation is that Louis Tomlinson is still that music enthusiast that entered the music industry in 2010 who, despite all the success and fame, has managed to stay grounded. With surreal highs came earth-shattering lows—all of which has shaped him in one way or another. Instant success is no longer what he seeks with it now being about the long game for him, this change in attitude is a sign of maturity for Tomlinson who no longer losing sleep about pleasing streaming algorithms. Having been sitting at the mountain top of the music industry for almost a decade, it seems it is only now he is really getting started with a long-term plan of where he wants his solo-career to go. With a strong sense of support around him, his future and creative vision is firmly in his own hands. With an abundance of experience behind him and has renewed enthusiasm, Louis Tomlinson is finally ready to find his own direction. Walls is available on 31st January via Sony Music, for tickets to his world tour – visit here for tickets.

#press #291119 #louis Tomlinson #far out magazine #stunt mention #dlibyh

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elvendorkwanwan · 5 years

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Hit Music 2005

No one expected Gorillaz to be so popular and people probably has forgotten Blur. Damon Albarn doesn’t seem to care though, he puts Blur aside and takes Jamie Hewlett to China for two whole weeks which he calls it “collecting folk songs”. They’ve been to Hunan, Guizhou, and Zhejiang. Not only did they travel Chinese attractions and taste all kinds of local cuisines in every streets and alleys, but they also promoted their new album while they were traveling. What a smart way to kill two birds with one stone.

Damon

Hit: Do you always wear a big sunglasses to look cool? Damon: Oh, no, it’s the light here, my eyes are sensitive to the light.(He said, taking off his glasses. Wow, what a typical handsome European, he has charming blue eyes.) Hit: What is your main purpose in coming to China? Damon: I was invited by a friend, but also was attracted by Chinese culture. I am interested in the culture and lifestyle of Chinese ethnic minorities, and their music in particular. We are so fascinated by it. On the other hand, we are promoting the new album Demon Days in here. In the past two weeks, we’ve been to Guiyang, Phoenix City, Changsha and Yiwu. But we are leaving today. Hit: That’s a shame, four more days and it’s the traditional Chinese autumn festival. You can have some delicious mooncakes on that day.(Damon seems to be interested in food.) Damon: Oh, yes. We have had some amazing food here. I found Chinese food really worthy of its reputation. I also bought a book of how to make dumplings. Hit: What’s the inspiration of making Gorillaz? Do you have any plans on touring? Damon: Each song is a story, and mostly happened on a dark night.It’s similar to the darkness that fell upon people after the 9 / 11 incident. For touring, as I have a very good impression of China, I will talk about it with my friends. We’re planning a world tour. I promise you, there will be a Chinese date. We’ll be back. (How’s the new video going? Damon: We are sampling in Africa right now, we have three videos done, now there’s one left. ) Hit: How did you and Jamie meet? Damon: We have many mutual friends, we’ve been knowing each others for 15 years.(Is it true that you guys live in the same building? Damon: Yeah, but that was a year ago, now we are living across the street.) Hit: What makes you want to form a HIP-HOP virtual band in the first place? Damon: Well, I still want to write pop music, but I don’t want to make ordinary music which is boring. And I’m interested in the idea of replacing actual people with cartoon characters. In fact, we can not be simply defined as hip hop band, because our music is very diverse, we got inspirations from everything. Gorillaz combines elements of Rock, reggae, hip-hop and lo-fi together. Hit: Would you like to talk about Oasis? They released a new album this year and it’s doing well. You guys were fighting a lot back in the old days. Damon: Well the battle between Blur and Oasis was some kinda promotion of the Britpop, isn’t it? As for our music, we better leave it to other people to judge. Hit: I also heard that you slammed the Live 8 concert, why is that? Damon: Because I think the concert lost its purpose. Assisting Africa is a formidable and complicated thing, and there are different ways to approach that. I think the reason to hold Live 8 concert is to help more people to understand Africa’s culture and its current situation. But live 8 failed to do that. For example, I used to think that I know about China, but it wasn’t until I actually came here and really got to know what people’s lives were like in here that I had a deeper feeling for China, a feeling that was different from the past. For the past two weeks, I’ve been fascinated by what’s going on here. I think Live 8 is a failure. It’s like if half the people in China were starving right now, and we organized a concert to help them, but not one Chinese was involved in the whole project, would you call that a success? Hit: Ok, let’s talk about something that’s less heavy. What other hobbies do you have besides music? Damon: Cooking, jogging, and playing with my baby daughter. I really like to cook, especially Chinese food. I had so many delicious food in China! I also bought a bunch of cooking books and I am going to try all of them when I get back. Hit: Can you make dumplings yet? Damon: We’ve got it covered. (Damon laughs, and I remind him that he needs more practice.) Oh, all I have to do is slice up the flour, chop up the vegetables and meat, then put in some mushrooms. And don’t forget about the chilli. (Damon windmills his hands while speaking, as if to prove that he can really cook. “Yeah, he loves chili, ” Jamie adds.) Hit: What’d you like to say to so many Chinese fans? Damon：谢谢(Thank you)！（He says these two words fluently in a strong British accent, somebody’s been practising obviously.）

Jamie

Hit: Can you introduce yourself first? Jamie: Introduce myself? (Jamie looks at me blankly. “Start from ‘I am —’ Ready, go!” Damon quips.) I’m Jamie (He thought for a while before blurting out. “I’m single. I’m looking for a girlfriend. ” — I made fun of him as Damon did.) I’m happy to be in China. I am the artist of the band, so I drew all of these arts. Hit: How did you come up with the idea of using cartoon characters as the band’s public image? Jamie: Because cartoon characters are so common, everyone has seen cartoons, and their characters can be more edgy. They can do a lot of things that actual people can’t in real life, they are the exaggeration of reality. And it’s easier to show artist’s intentions with cartoons. Hit: I noticed that in your paintings, characters’ eyes are specially designed. Why is that? Jamie: Well, because when you talk to someone, you look them in the eye, and through their eyes you can see what they’re thinking. Hit: Who is your favourite Gorillaz member? Jamie: I think it’s Murdoc, who’s formed the band and also is the heart of the band. Hit: When you were creating Gorillaz, did you ever think about making the band members’ appearances match the music? Jamie: Not Exactly. You know, the band members have their own personalities and backgrounds. So it’s more like… making cartoons. (Did you make their personalities more similar to the actual band members?) No, they are nothing like the people behind all this . Hit: Did anything hilarious happen during this trip? Jamie: We have a lot of funny stories, but it’s hard to explain. We spent most of the two weeks bouncing on the bus. Hit: What kind of person Damon is in your eyes? Jamie: He’s a lovely sunny boy.

Bonus

1. After Damon Albarn said his “thank you” to fans, I asked if he knew any other Chinese words, he immediately turned to Jamie, who was standing next to him, and asked, “How to say dumplings? ” And then he smiled and said, “饺子! ” which sounded way more precise than the “thank you”. 2. Damon talked a lot about the places he had visited, and he solemnly pointed to the green military rubber shoes on his feet, “Look! I bought them in PHOENIX CITY! ” Jamie, who was wearing the same shoes as Damon’s, also pointed to his feet and said, “Mine too! ” 3. Damon is apparently good at doodling, so he improvised on the magazine we brought with us… I just felt a little twitch at the corner of my mouth, I don’t know how to appreciate thta! Awkward!

for @damonalbarn

#Damon Albarn #Jamie Hewlett #jamion #gorillaz #2005 #translated by me

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bigruntheory · 3 years

Text

“To everything I’ve ever lost, thank you for setting me free.”

This event happened in Tony William's backyard, Mount Victoria, NSW. Fri 27- Sun 29 November 2020.

This report will swing from serious to joking, but will at all times be genuine with the best intentions; you will just have to try your best to navigate the subtle or dramatic changes for yourself, bearing that in mind.

This report is a true (made up on the spot then heavily edited) account of events I experienced within the beating heart of endurance running, the true spiritual home of ultra, the best concept to emerge in running since putting one foot in front of the other: A Last One Standing Endurance Race. (LOSER)

The Blue Goat Backyard LOSER is a little shorter than the official distance of 6.7 something kms, at just 5.23km a lap, but what it falls short of in distance, it more than makes up for in rugged, uneven, highly technical terrain- which pretty much makes it Australia’s toughest LOS event.

Whatever its comparable status, agreed or not, or however you approach it personally, it’s definitely an authentically challenging, scenic course, held within a supportive, fun, party atmosphere:

The buzz at the Blue Goat & Fatboy Slim’s Big Beach Boutique II -

equally awesome & hazy in my mind- and I was at both.

These LOS events will work for anyone who enjoys to run. The Blue Goat Backyard will work for anyone who enjoys to run challenging trails. And if you don’t like running or trails or a challenge, then they will suit anyone who likes to party while other people do. So they’re great events for everyone.

The LOS format will especially suit you if you are on a path to self-discovery, self-transcendence or to just see how far you can personally go and run for, in one go. You might be surprised to find that in just turning up to have a go, you discover new things about running, runners & yourself.

LOS event vibes & hubs will differ somewhat in style, and you can expect them to be as diverse and unique as their hosts- they should all provide a brilliant gateway for some amazing personal journeys in running & in life. This one delivered.

The LOS format, and specifically the way that AAA racing & BMF organise events, means ANYONE of any ability, can come and enjoy the experience of their running lifetime, seeing how far they can go, or set a target of laps or distance and create a PB in a unique, supportive, safe and fun setting.

When I say party and fun, I mean it. They had the most amazing Britpop and other timeless classics (Creedence/Stones/Beatle’s) blasting out the speaker all day and night; there was also a Robbie Williams song in there.....

Training and attitude will only take you so far- a lairy shirt must do the rest.

In spite of the bushfires & the pandemic, this event still happened, as seen & predicted by me, which in part is why I felt so deeply that I had to be there. You can’t escape your destiny, really, so you had better make it double awesome when it arrives.

After last years event ,which slipped under my radar for some reason, Tony’s backyard pretty much got burned to the ground in bushfires which massively damaged the whole Blue Mountains & Hawkesbury areas. There were also floods, which actually helped stop some of the fires but which bought their own destruction. This all happened during the end of 2019 and early 2020, after which everything went tits up, particularly for gyms, trainers & organised racing- due to the reaction to the COVID 19 bullshit pandemic.

Fun on one of the Blue Goat Bees, earlier in the year.

Getting involved behind the scene for this years event was great fun. Seeing it transform gradually until the race day was awesome, it went from burnt sticks, charcoal and indistinguishable trails to looking like a nature trail again by race day. It still has a way to go, but it’ll get there; it’s still a beautiful course which i parts feels like you are in the Grand Canyon at Blackheath, or the Grose valley, which are only just down the road.

If I’m correct, I don’t think anyone really thought this event was gonna be on, due to the COVID, but I had no doubt at all… . I knew I had to be there helping out and I knew I had to be there on that starting line and knew I was definitely going there to be the last one standing. This is not to say that it was time to put my feet up and just waltz in there like it was easy and in the bag - far from it. I trained hard. Really hard.

So call me mystic Steve if you like, but months prior to the event I bought a ticket and started manifesting, which is a pretty simple & powerful practice, not to be underestimated at all….it’s very much like goal setting to be honest, except there is a spiritual dimension and much that you can’t explain or prove scientifically. It works very well with the art of training your body mind & spirit for tough challenges and healing, too, which really go hand in hand. You basically write your story then walk into it.

Law of attraction/ manifestation.

This write up will cover some matters of running & strategy but mostly matters of the mind, heart & spirit. I present this to the world in genuine gratitude for the experience and I hope that it inspires others to be on that starting corral of an LOS event, wherever that may be, whatever your age, ability or experience.

How does it all work, this LOS?

Every hour on the hour, you have to be ready in the starting corral to go and run your lap, then back in time to do whatever you need to do-put your feet up, go to the loo, refuel or maybe have a banana & dance like no one is watching you- or in my case, like you are Bez from the Happy Mondays - whatever you do, however you roll, you have to be back in the staring corral to go do just one more lap, again. It’s really as simple as that. One loop, one hour, make of it what you will and what you can; bring out your soul & enjoy!

Should you do just one lap, you might find yourself in the position of saying, well why not see if I can do just one more? And so it goes…

These events are happening now, they are quite new & fresh and trust me, they will stand the test of time, because as I keep saying, there’s nothing conceptually better than the Last One Standing Format - it really is the Rock n Roll of endurance running & every event that happens has been a living testimony to that in one way or another.

Even during a global pandemic, nothing could hold the LOS back; in fact it just got stronger & rose to another level. While other events we imploding, postponing, being moved virtually and seeing reductions in numbers and interest, the annual Big Dog’s Backyard Ultra, usually in Tennessee, went ahead, on a satellite basis, across the world, live on the internet, and made history with record breaking performances & a once in a lifetime twist to the team dynamic; a twist so good, and a global audience buzz so great, that even the satellite event format will definitely go forward in some form or other into 2021 and beyond…..so many benefits to keeping things local and compet8ing more widely.....

The Australian Team sporting their AURA gear ready to take on the world.

Each country put a team together, which lifted the LOS format into another dimension. Instead of competing against your own team mates & globally in Tennessee, each country had their own teams on their own loops, competing against other teams. So in effect, this bought teams together and made the connection between the assist & the Last One Standing less of a battle of breaking the other down and more of a battle of building the other up, supporting them and remaining strong for the team. How good is that to see in competitive endurance running!?

Clint Eastwood, still cool after all these years.

I fell in love with the LOS format when I watched the Clint Eastwood Last One Standing, hosted by AAA Racing in Oxley Park Queensland and it was great to watch many of the same familiar faces, with the same party atmosphere, running together and taking on the world at the World Champs. Massive, genuine kudos to the whole team from the Clint Eastwood & The Big Dog satellite event, all runners and behind the scenes – and Sam Penny needs special mention for the GoPro awesomeness, without which I may never have had that fly on the wall buzz of being at the event.

So, runners of all ages and abilities, whatever your goal, this is your opportunity to get up and at it & be part of something life-changing, challenging & massively fun, one short lap at a time.

Don’t go thinking you have to be superman, genetically gifted or even an ultrarunner or even a ‘runner’ Basically just ditch any thought or label that creates doubt or fear or holds you back and simply get up and go for it. You just need to be willing to turn up and have a go & enjoy the experience.

“Anyone can do anything” Tony Williams, Blue Mountains Fitness.

So, there was this running race my running mates told me about & I can’t remember when I made the decision to be there but it was also around the time a running mate was talking about helping out building trails and tracks and I know this must sound vague and I’m probably getting my wires crossed but I somehow put these two ideas together & they gave birth to the idea that I needed to be at the Blue Goat Backyard. And that’s how it all began….

Thanks to Tony & Alun – the whole BMF & AAA Racing collective , Fabiano & Sean for being on hand to help and support and look after us through the night and day and Keith for the awesome photos- popping up all over the course to catch candid snaps- all the sponsors, too. T8 for the awesome shorts and underpants, Papadino’s for the Pizzas & the prize voucher even made peace with Tailwind and had a recoverite after the event.

Thanks to all the people I met and worked with on the several bees & for all the care, imagination & spirit that put energy into making this happen- the whole event- not just the LOS; all the work that goes into delivering a vision into reality, planting the seed & helping it grow.

Hawkesbury Trail Runners

Massive shout out to the Hawkesbury Trail Runners! So glad you all came to support the event you fell in love with last year before a period of tragedy hit the area and awesome to see you at the event (well, sort of -in the heat of the moment and the day, socialising was very short lived due to needing to cool down, fuel up and get back out; and after the event, I puked up & conked out!) Managed to wave and mumble to a few of you and had a chat with regular run buddies Mike & Vicki.

You all did so well, especially in that fierce heat and I’m quite fond of the memories of just blurting random stuff out in the zone- the Britpop running the event of your lifetime zone….

Congrats to Jackie and Claudio in their runs, had a brief chat with Jackie in the fierce heat....also to Matt & Jen from Plus Fitness running the marathon and half respectively on a tough course in tough conditions.

All any of us really need to do is turn up and make the most of it, and that’s exactly what everyone did; and that’s how a great event works, really, so let’s all do it again next year! Mystic Steve predict big things happening in the Blue Goat Backyard for 2021…..!

Whilst I was busy running and didn’t get to join in the party for too long & during the later phases and the high heat was stumbling around like a bull in a china shop, it was huge fun singing, dancing &, running all night and day. The energy I drew from Britpop was out of this world! I’ve never sung & danced at an Ultra or race before to my knowledge. It just got better with every lap!

Massive thanks for all the runners I had a chitchat with and shared a song joke or story with, however mish mash it all was, it was great fun all night and day - and apologies for the audible fart and swearing- it was quite challenging keeping this under the radar at times.

Everyone who stepped up to that course was a winner whatever the goal, distance or outcome. Sorry if I missed you on the day, or if I didn't miss you but wasn't making much sense in the delirium of hot endurance. Here’s some awesome photos:

Rob heads up to the Corral.

It is said, when you blow this horn, Beer & Pizza arrives

The drone, sounds like a swarm of bees.

In all the excitement I forgot to get a t shirt.

Got some awesome car stickers though and part of a Goat’s skull.

When I’m in the zone I often adopt a different persona and mindset- I’m not the same often reserved introvert as when you see me under normal conditions; I guess the animated extroversion gets magnified , as you’d expect from anyone giving the performance of their life up on stage.

There are moments of surrender, where I’m in total alignment with higher self, emitting my frequency with a genuine smile & peace into the world and that is where the practice creates the art.....

Endurance running is all about finding your inner peace, well, sort of....

I think Alun’s singing Tom Jones here- I’ve zoned out to Oasis classics

I missed the presentation- seems to be a trend of mine (happened after the Hounslow Double when, after accidentally busting in on the elite presentation, did I mention bull in china shop already? I went and nodded off in the car!) That was the inaugural year when Tony took out the first place in the Double by a long, long way.

After it was all over, I puked up then momentarily imploded and had a lie down.

Deep relaxation is really good for you.

The medics gave me ice packs and aimed a big fan on me (was really nice to have a fan at one of my races, actually, i could get used to that) They took good care of me, so thank you for the care and the cups of tea and water I recall there were two of you and you were lovely. I had a power snooze for a couple of minutes, which I think actually lasted a couple of hours, and I cooled down, which brought me back to life.

Before this, I fondly recall running up to the corral giving the goats a wave the final time and being greeted by everyone going wild.

Hello gorgeous.

I blurted out a speech, that I know would've made total sense to everyone if it actually left my lips the way it was written by my heart- the former not sure, the latter no doubts. Basically gratitude, peace & love, keep going, never give up and things will get better- as in running so in life. ❤️

In spite of it being the hottest day of the year so far and genuinely a tough course we had a lot of laughs and fun moments in the middle of it all. Some of it is a Blur but most of it was Oasis and also notable tunes also from the Stone Roses, Muse, Radiohead, Prodigy, Rolling Stones, The Verve, Doves, Manics, REM and many many more

Music is medicine & I’m so grateful to my musical brothers & sisters.

There were several different events happening at the same time during the heat and middle of the day and it became a little confusing at times with all the different energies going off around the hub, but once back into the peace & calm of focussing on the running every hour, everything made sense and came together. The music fired me up like a second wind every lap, I thought I was dreaming at one point, like I could not have scripted the day better if I’d have sat there and made up my own story about a perfect day out running around with Britpop classics in the background, because that’s exactly what it was like!

Again, never underestimate the power of manifestation, positive thinking and the art of raising your vibration so that you attract good, positive people & experiences into your life.

I can’t wait to go to Queensland now and join in for an all weekend running party at the Clint Eastwood. I can see myself dancing and singing my way round that course al day and night and day and.....well, if they’ll let me in!

Correct, you also swear and sing a fair bit as well.

I’ve said it before I’ll keep saying it and you heard it from me first: There is nothing conceptually better in running than a Last One Standing Endurance Race. It’s the Rock n Roll of endurance running. It’s raw, simple, pure & true and it happens in the now. It provides a stage for you to give the greatest performance of your life- every present moment- every hour, on the hour & all the minutes in between. It really gives you the opportunity to be loud & proud and really turn up, (not just to be fully in the present moment) your training and turn up your performance to the next level.

Turn up, turn it up & BE LOUD!

As in running so in life; God calls upon you to bring all that you are to the starting corral and step up into the very highest version of yourself. All your experiences, the culmination of physical mental & spiritual training, as you step into space, out past the music (of Britpop!) into the blinding lights, then the darkness & then the many winding turns that lead us to who knows where, because there is no finish, is no end….. the end is just the beginning, of another loop, another lap- another chance to shine.

Competitive mindset bypass. There is no finish, there is no competition, there is no advantage to being the fastest runner, no disadvantage to being the slowest. Anyone who can complete a lap in time to be back ready to go out on another, has an equal chance at being the last one standing to complete that beautiful, identical repetition of what we all love: simply running in nature; one foot in front of the other, moving forward, fully grounded in the present moment; putting the practice of our meditative flow state into effect as best we can.

The reality of endurance trail running is that it is a tough struggle and your achievements are hard earned. Such is anything worth doing. And I’m sure anyone who heard me stumbling, swearing singing & shouting through the dark and the day, will attest that I am not the exactly an oasis of calm- I’m probably more like Oasis the band.

As many of you may already realise or guess from reading this, I don’t take the competitive, type a personality, or egoic side of running at all seriously. I do genuinely regard running as part of a spiritual practice. It can at times be done purely as a spiritual practice, like meditation or Yoga or making music. Running can bring us together, individually and collectively.

Not every time that run do I run spiritually, just as not every time I sit down do I meditate or every time I pick up my guitar do I make medicine music; sometimes I just make a noise or just sit or just go and run and zone out to music, However, there is a great light to be found when you just get out into nature and breathe and move gracefully, gratefully and in complete alignment with the flow of the universe and everything in it.

The Bluegoat track, like a spiritual path, is rocky, uneven, twisting & turning, it requires total concentration & surrender to the process; still you may trip, slip, maybe fall; there will be blood, sweat & tears….you need to climb & descend, there are milestones, you meet others at different stages in their journeys and there is no finish in sight; there are surprises, tests and you find yourself back at the beginning with each cycle….

There are tears and laughter and moments you don’t even comprehend at the time. It can be dark and ugly and chew you up and spit you out many times, all day long in fact....until you surrender to the process and let go.....Then you may see, there are obstacles and trials, but they are not in your way; the only thing standing in your way is you – and that’s really more of an illusion you created than a real living person, so you just get your unreal self out of the way and let your best self shine- & shine it does….

You can tell this is lap 1 - my legs are the still the same colour as my shirt.

All you need to succeed, at whatever you turn your mind to, is a single-minded determinism- pure focus & intention of putting one foot in front of the other and deciding not to stop until you have succeeded. May you spirit drive your machine wherever you may roam, knowing within you , is where you are home,.

So now we know the power of manifestation and endurance and the value of community & service to others, the plan must be created to use apply energy skills to seed & grow something of genuine, lasting value in this world. So that’s what’s gonna happen….it’s out there in the Universe, God is my witness, momentum is building, so watch this space….like, not literally here this is just a web page.

Whilst I train & participate in events during all conditions, phases & biorhythms, I do love a full moon. Clear full moon nights are magical & highly energetic; Blue Moon rising at the Blue Goat was perfectly poetic!

I'm not knocking a new moon, by polar contrast, or any other phase, but the energy was just right and I guess I was feeling lucky.

Let’s talk about feeling ‘lucky’ as I’ve already stated my predictions and what I positively manifested with my energies & intentions form the moment I made the instant decision to be at this race.

I basically created my own luck through being completely honest with myself whether this was something I could achieve.

Did I have what it takes to run at an LOS event? Of course, I did, no doubts at all. Why? Not arrogance or confidence, but the format itself. You can’t really lose in an LOS unless you are the last one standing! So going to win is going lose, and losing is glorious in all its forms. There is no shame in the DNF (Did Not Finish) at all if you’ve given your all. The DNF in other events is nothing to strive for or celebrate, but the DNF in the LOSER is a test to see how far you can go….what could be more pure? And the only one who doesn’t get to fully reach their potential on the day; reach the peak of what they can do on that day, during their race time, is the Last One Standing.

I created my own luck by setting my intention and my energy to creating & following a training program that would enable me to achieve my goals. I visualised being the last one standing for months and I trained like it was in the bag already, because that was what I felt deeply.

I knew it was my time & I had the God given ability to create my story & walk right into it. I said many times during the event that it was just perfect and that I couldn’t have scripted it better myself. I stepped into a higher version of myself that I’d created through some very tough training & some heartfelt actions; in another sense it felt like I was on stage performing.

Apart from key milestones that marked out the path of consistent focus and intuitive training, as I regained fitness from hiatus, there were some very specific and tough challenges that I set myself in order to prepare for a race of this nature. A race that just goes & goes & goes interminably requires you to leave no stone unturned regards you physical body, your mental ability your nutrition plan & your spirit. Someone once said runners don’t’ run with their legs they run with their arms. I believe runners. once the body is trained sufficiently, run with their minds- and the mind is fuelled by limitless energy & power of the spirit.

So you go through every motion of training and preparing your physical body and you feed you mind and your spirit with positive thoughts and genuine love for self & for others. If you don’t see this kind of thing in training programs, then you soon will do just as soon as I can get my shit together…..

I’d watched the Clint Eastwood & I’d watched the Big Dog & I fell in love with the concept of the LOS. I fell in love with all the people in the front row. The runners slogging it out in the Clint Eastwood LOS & the Australian team at Bigs Backyard Ultra satellite event. I decided in a moment that I wanted to be part of it, so I made it happen; the moment I’d made my mind up, everything started falling into place and I was sent signs and opportunities that I had to take without a moments thought. I knew that everything surrounding this journey had to be centered on other, something outside of, larger than self.

An ex Army bloke from the UK RunGrahamRun was doing a mental health charity treadmill World Record helping blokes with mental health and suicide prevention. The run was to complete 21 marathons in 7 days – on a treadmill! . He invited teams to rival of beat him in the challenge. So I supported this and set out to do just 7 marathons in 7 days.

This set me up very nicely for the next opportunity in my path, which was to support Mark Avery doing a 20 marathons in 20 days challenge for Gotch4Life and Run4MentalFitness- an Australian blokes charity helping with suicide prevention and setting up places for blokes to engage in ways that deal with the root of bloke issues. Safe places to share stories, feelings and concerns without judgement.

Instead of just marathons, I actually did ultramarathons and also added in a lot of cycling. I know how to listen to my body and push it through adaptations with fasting, nutrition & specifically focussed rotations across all terrains and relevant speeds and intensities. You are really just calibrating a complex God driven physical body through a series of experiences in order to achieve a specific goal.

The goal in this instance was conceptually perfect in that it was technically interminable, ie. kind of eternal. You simply had to train to go as far as you could go; so you had to see how close to the edge you could get to that point in the training, without breaking yourself.

I genuinely pushed my limits and discovered more about running and endurance than all the hours my studying had taught me, and infinitely more than debating with ultra coaches online could ever have revealed. I trained and pushed harder and longer than ever before and also balanced that with more rest & recovery and fine tuning than ever before. I applied every technique I knew and discovered exactly what nutrition worked best in all situations.

After all the training and the experience of others doubts, I thought it would be quite amusing to win one of the toughest ultra endurance challenges in Australia while singing and dancing & wearing a lairy pink shirt and cargo shorts I got from Big W, fuelled up with honey water, bananas and hemp and walnut oil . I had a plan, a 50 hour plan. It consisted of 30 litres of honey water (1kg raw honey per 10l) 25 ripe bananas, 250ml x Hemp seed oil 250ml x Walnut oil, a few vitamin e capsules and a few coq10 capsules.

So let that be a cheeky lesson to all you very serious runners in your expensive compression gear, with your gadgets & gimmicks and fancy nutritional products & lord knows what else you use, slogging away to the beat of your watch, as I did before a great meltdown of over training and loss of genuine joy- in running and in life. In many ways the way I run today is a result of hard lessons and failures, or going too far too son, and burning out. I’ve been obsessed with a quicker this a quicker that, gotta beat the last time every time.....lets set an unrealistic goal....it slowly takes all the joy out of your passion like all addictions inevitably do.

Let this light shine on those who talk the talk so readily in their little cliques and so called training groups, especially those who have personally attacked me and tried to shut me down or censor the story of my training and my experiences for reasons best known to their egos and projected issues. I forgive ya.

May the light of my achievements and those of my brothers & sisters- everyone walking the walk- everyone saying I can- illuminate the dark attitudes of the ‘can’t’do this ‘can’t’ do that- and the put downs and rationalising words of so called science, and disbelief in your training, thinking , fuelling, wider wellness strategies..... genuine experiences......May my brothers & sisters who are in doubt, or disliking, hating, fearing, not loving, put down the ego, and find a better way. May my walk inspire others to walk the walk and to never say they can’t do something, or be held back by others as to what they think they can or can’t achieve. And may I long take all my own best advice back to my own heart as well and never forget it.

Everyone, today, just get outside and get moving and enjoy what you are doing and be grateful that you can do what you can do; and you’ll find that you can do a lot more and a lot more and a lot more......

Genuine footage from an online Ultra running research conference.

I know what it’s like to lose things, we all do, but there’s no use banging on about that old story; a great spiritual teacher recently told me that I had to put that down and never pick it up again.... and so it is. So know this - an event that celebrates losing in all its glory is of divine significance when you are running on a spiritual path. You ether win or your learn ; and in a race/journey with no winners, everybody learns, which is a glorious & pure win win paradox.

It takes the biggest fear in endurance running - the dreaded DNF (Did Not Finish) and turns it into a glorious badge of honour. A badge that says you gave your all. You went as far as YOU could go on that day, in that place. There is nothing to fear in the LOS regarding a DNF. You really cannot lose.....

......unless you win!? Ooops, well, oh well, I think I can handle it.

I wasn’t quite ready for my glorious DNF just yet, so I became the biggest LOSER. And I’ll just have to wait and see where my glorious limits truly lie.....

I caught quite a tan out there.

So, after an extended power snooze I revived myself and had some pizza and some Goat’s pish, and enjoyed the hospitality and company of Tony,Alun & Susannah, thereafter kipping on the sofa for the night, where upon I made a swift exit the next morning, before the England v Wales Rugby came on....I think I might’ve predicted the score and dIdn’t want to hang about for it.

Truth is, I had to get back to talk to my son Jack (also race strategy/challenge consultant) on the phone and then on Zoom and told him the news.. He was pleased I won, and notwithstanding the pep talks about the true nature of taking part, he rightly likes it when I win. I think it has a positive effect when your son knows that you’ve gone and done something a bit special, even if it might not make full sense to him now, it may well help him in the future, so that's a win win. I actually asked him during one of the training cycles (20 maras in 20 days) whether I should beat everyone on the leaderboard or let the organiser take the top spot. He said nah, beat him, I don’t think he’ll mind if you win. So that’s what I did.... thanks for the tip matey!

So here endeth the tale of a fantastic weekend and experience, can’t wait for next year, see if we can get double the numbers starting and smash some course records. Hoping to see more of my running buddies on that starting corral with me having a dance and a song and then heading out onto the endless, beautiful loops of our own personal limits...... anything can and always does happen in a race- sorry journey- of this kind.

You may be next years LOS, with me to help you to go as far as I possibly can, leaving YOU to do just one last loop and be the biggest LOSER on the day? You know it makes sense. Big love from Steve. :)

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louistomlinsoncouk · 5 years

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Louis Tomlinson, a new direction

Tomlinson, it is safe to say, has finally found his feet and, with a new record label firmly behind him and a renewed energy propelling his every move, the 27-year-old is now a man on a mission with two fingers in the air and a point to prove.

For Tomlinson, however, the immediate highs were quickly met by severe lows when it all came suddenly crashing down. The end of the band, the media relentlessly pursuing his private life, personal tragedy and more have followed. Now though, with a renewed vigour and clarity for his future, Tomlinson has picked himself up and is about to carve out his own niche of pop music.

I met Tomlinson in a back bar of a central London hotel as I self-consciously began to consider the possibility that I may be underdressed for the occasion. Thankfully though—and much to my relief—he arrived casually dressed in a brown quarter-zip jacket, jeans and Adidas trainers which arrived as a refreshing change in reference to the typical, modern-day pop star. Having travelled down to London from Yorkshire that day, with my editor’s words ringing in my ears, the somewhat opulent surroundings of our meeting lacked the relaxing edge I was hoping for.

It must be said that interviews with musicians of international fame can be tricky — especially when they have a new album to sell. With media training, PR managers typically watching over and a sense ill-trust with the media, it will come as little surprise that popstars can be standoffish in interviews. Despite my initial trepidation though, Tomlinson greeted me with immense warmth and immediately offered to get a couple of beers in from the bar—the first sign that our conversation would follow the laid-back pattern I was hoping for.

After we’d sat down and had a sip of lager, our Yorkshire accents clashing, my mind turned to his recent performance of his last single ‘We Made It’ on Children In Need. Tomlinson looked in his element, like he’d finally found his feet as a solo artist—something that hasn’t been an easy adjustment for him to make in the last few years. “Yeah, naturally I feel as any fucking solo star finds – the longer you’re in it, the more experienced you get, the more confident you get. I think it took me a second to work out who I am musically, to fully detach from One Direction and stuff but I feel like I’m there now so, naturally, I’m more confident in my songwriting ability, I’m more confident performing, singing and all of that, so it feels good.”

Following the split from the band, it did feel from the outside looking in that there was no clear direction where his solo career was going to take him. With collaborations with the likes of Steve Aoki and Bebe Rexha, both of which performed commercially well, there was a creative direction that left more questions than answers. Earlier this year, he took to social media to make a statement to claim that he was turning a page, that he was fed up with writing to a formula in a bid to chase radio play and instead he wanted to make music he loved.

That moment was the beginning of the second chapter in his solo career, which he expands on looking while back at that difficult time with more than a pinch of honesty as always, disclosing: “Yeah but I’m not going to lie, it’s still something that I’m fighting up against if I’m being honest. I mean, because there’s constant opinion around me and you know a lot of people do want to focus towards radio—which I do understand—but what bugs me is just how much it limited me — especially because what I grew up listening to on pop radio is very different to what’s on pop radio now and because I couldn’t see a place for myself. I thought that it wasn’t not going to be authentic because I’m going to be trying to sound like what’s on the radio. Today, in 2019 more than ever, people can spot bullshit. So yeah, I think since that moment I’ve always been conscious of that and as I say it is a constant battle, but I think I’m winning at the moment.”

The state of mainstream radio is something that Tomlinson is passionate about. As an artist who aims to make songs that are accessible to the masses without compromising integrity at the same time, Louis appears to be well versed on the shift in the popular musical landscape: “If I’m being honest, I didn’t actively search for stuff because it was on pop radio,” he said while discussing the change in approach to consuming music. “Especially a band like Catfish and The Bottlemen,” he adds after a moment of contemplation. “When I was growing up they would definitely, definitely, be on every radio and I think those bands are very important and now I have to actively search for them or listen to the right station.” He continues, “Also, I think it took me a second to come out and say what my influences are because I know what people expect from someone who has been in a boyband and stuff like that.”

With this lightbulb moment, Tomlinson wanted to detail more about the inner workings of his creative process, how collaborating with like-minding musicians helped free his thought process. “Once I’d had this epiphany and put this message on social media, at that point I’d done four songs that are still on the album. I think ‘Kill My Mind’ was actually a turning point, I wrote it with a guy called Jamie Hartman and the next session we had together we wrote ‘Walls’ which is the title track for the album and is going to be my next single. I think from that moment it unlocked something and we got some momentum so then the second half of the album was written relatively quickly but I think as I say it being transitional I’d have loved 10 ‘Kill My Mind’s’ but maybe the next record.”

‘Kill My Mind’ looks and sounds like the first step towards the definitive direction that the Yorkshireman is aiming for. It has a punchy Hot Fuss era Killers’ chorus and is more reminiscent of the type of music that Tomlinson himself loves. “That’s probably the proudest I’ve been of a song because that is genuinely a song that I fucking love listening to and that’s not necessarily always the case when you’re playing for radio all the time. It didn’t get the attention that I think it quite deserved but that’s the way it is.”

The shift towards the guitar-led music, which bucks the trend with current chart-toppers, is the path that the 27-year-old is determined to follow. A recent writing session with Australian indie giants DMA’s had popped up in our conversation and the beaming smile across Tomlinson’s face said it all: “I’ve hung out with those boys (DMA’s) actually, one night because we were in the same studio and I’ve written together with [them] before,” he said before clarifying that the drinks were flowing which resulted in an unfinished recording. When probed on whether this is something he’d like to re-visit at a later date, Tomlinson expanded with an eye firmly on the future: “The DMA’s session was a bit of an experiment, to be honest, when I look at my solo career I’m looking at it as a five, six or seven-year plan. I realise this from doing the DMA’s one, I would fucking love to do an album full of them but it’s a transition you know what I mean, I’ve got to understand the fan base and what they want. I don’t want anything to be so drastic so in my eyes, it’s a two, three even four-album progression before I get there and I also think to write those kinds of songs that I love I need to have more experience as a songwriter as well.”

For someone who has had such rich successes in their career to date, the singer-songwriter does seem to have struggled with his self-confidence since going solo—but this year seems to have changed that. One song that stands out is ‘Two of Us’, a track which was released earlier this year is a tribute to his late Mother who tragically passed in 2017. Tomlinson’s life was then struck by more devastation following his sister’s sudden death in March this year.

‘Two of Us’ clearly carries a heavy weight of emotion. Created from the inner workings of Tomlinson’s grief, the song is by a distance the most personal release in his entire career to date. Despite that, the track manages to find the universal within the personal as it’s lyrics resonate for anyone who has ever lost anybody close to them—myself included. While our conversation remained on this topic I was keen to know whether these heart-breaking events had impacted his professional epiphany, whether the personal grief had allowed him to stop worrying about the chart and instead focusing more on enjoying the ride: “When I wrote ‘Two Of Us’ that was something I never really had with music before where I like to think every lyric has meant something. There was a different emotional weight with that song and just hearing people’s stories about what it meant to them and how they related to it, that was amazing for me.”

“If I’m being honest what made me have my epiphany was me spitting my fucking dummy out because I was sick of being put in writing sessions which I couldn’t relate to, or people trying to pull me in a certain way to work on American radio. I could probably have commercial success like that, but I’ve got the luxury of having had that already with One Direction and I thought ‘what does success mean to me?’ I just thought I’ve got to follow my fucking heart and if I can win like that it’s like a double win you know what I mean.”

One Direction’s immediate success was unprecedented for a British boyband. Together they conquered the world with their debut Up All Night going straight to number one in the States and shifting more than 4.5million copies globally. Just one to this moment, Tomlinson was an 18-year-old living for the weekend in Doncaster—but he was determined not to let his newfound fame change him: “Yeah I was always pretty resistant to it [fame] to be honest, I always say that when I got famous, when I first got put in band, that I was having the best year of my life. So, it was a lot to deal with to leave my favourite year behind and to be doing something else where you’re working really hard.

The personal and professional problems that have occurred in recent years appears to have given Tomlinson a remarkable sense of life experience. Despite still being so young, despite having lived a whirlwind life, he still has the ability to self reflect on with a grounded honesty. “Being from Donny you don’t expect to get that kind of opportunity and I then got put into the band and then had to deal with everything on the job. Honestly, it was a fucking incredible time in my life that shaped me as an artist and shaped me as a person, I saw some amazing things but it is also nice now to have a little bit more free time because we were so fucking busy and also you know stand on my own two feet and say this is who I am.”

“As far as what’s on my checklist of a credible artist you know they have to write their own tunes, that was always important to me and I did a lot of writing in the band which I think gave me the incredible experience to write now. It was like a crash course, there were so many sessions and I think it’s put me in good stead, but I feel like I’m always getting better as a writer man I feel like with every song I learn a little bit more.”

Although, it’s clear from speaking with Tomlinson that he looks back on those years he spent with the band with all the fondness in the world. Yet the media attention that came with all the success was something that got the better of him at times. “That was hard and I’ve often envied artists from an era where smartphones weren’t around. There were definitely some days where it got the better of me. I suppose you’ve got to be selective on where you go and I learned the hard way from a few different people that you can’t trust. Some people want something out of you and it took me a second to understand, but again I think that helps me have a thicker skin in the real world outside of my job. There are times when I’ve gone through difficult things in my life and I’ve thought certain people haven’t been amazing but it’s part of it, fuck it.”

As our conversation then meandered toward the split of the band and what life was like for Tomlinson after exiting the world of One Direction— which was all that he had known for the entirety of his adult life up until that point. A sense of honest emotion entered his voice, a moment that seemingly suggested that this permanent change was something that was taken from his own control: “It was good to be back doing normal things but I wasn’t ready for the band to go on a break and it came as a shock for me,” Tomlinson exclusively told Far Out Magazine. “It definitely wasn’t my choice but I understand why the decision was made and there’s a good argument for that. I’m enjoying expressing myself now but it rocked me for a time and for a bit and I didn’t know what I was going to do,” he said, vehemently.

From the tone in his voice, it is obvious that the subject is still a relatively raw one for Tomlinson who initially struggled to find the right sound for him following the split of the band—a factor stemmed from his initial reluctance to move solo. From the gravitas of the moment to the importance of his first steps back into music, it was clear that Tomlinson wasn’t ready to be going out on his own so soon after the band’s breakup—a learning curve which other members of the group seemed to overcome in different ways.

The break was initially thought to be just that ‘a break’, but nearly four years after the announcement there are still no signs that the group is entertaining ideas of reuniting anytime soon. With Louis Tomlinson set to release his debut album in January, Liam Payne’s debut LP1 out next month, Harry Styles’ second offering, Fine Line, being made available on December 13th and Niall Horan working on the follow-up to his 2017 Flicker, the One Direction members are firmly in solo mode.

Tomlinson acknowledges that during the final One Direction tour he began to accept that the break was inevitable, admitting: “It had kind of been brewing and we knew the conversation might be coming around but it was just one of those things. It was always going to happen, we were always going to take a break, but I think there are always people who are going to take things better than others.”

Looking on the bright side, however, since the break he has been allowed to live a bit more of a quieter life. From speaking with Tomlinson I get the sense that he’s in this because he loves the music, appreciates the love he gets from fans and loves playing live. However, the celebrity lifestyle that comes with it isn’t why he’s in this game. “I think I can definitely have a bit more of a balance now, there are obviously times when I’m releasing songs or releasing album when it’s really ramped up [...] It’s hard but definitely easier in those off times to have the balance because otherwise when you’re so busy it’s impossible to literally fit everybody into your life. It’s definitely nicer having more time to do normal fucking things,” he adds with an almost sigh of relief.

Tomlinson’s solo career, which has found its feet with emphatic effect and is currently flying high with a sold-out world tour and highly anticipated debut on the horizon, was something that the singer himself had never initially envisioned. With Tomlinson originally wanting to take a back seat in the music industry following the end of the band, he revealed exclusively to Far Out: “I’m not going to lie it hit me hard but it definitely inspired me to get on with my own solo career because it wasn’t something I was always going to do. I was just going to write songs and just hopefully send them to other people and stuff like that, but everything happens for a reason, so they say anyway.”

As the careers of all five members of the band have all taken off, with each turning into different avenues sonically, our conversation then turned to the competitive nature between the band since they went their separate ways. Typically, the avid Doncaster Rovers fan opting to use a hugely specific football analogy to describe the relationship with his former bandmates: “I could be wrong but I think we’ve all got that in us, there’s a competitive side to everyone. I can only speak from personal experience, and as time goes on you understand the differences. It’s not all that relevant but I liken to the feeling at first was that you’ve all been at Barcelona’s youth academy, so we’ll call One Direction ‘Barcelona’ and then we’ve all been put off at different clubs and that takes a second to understand and compute but we’re all still lucky to be able to do it as solo artists.”

Having time off to relax over the last few years for the first time since stepping foot for his X-Factor audition all those years ago, Tomlinson seems to have returned with a renewed love for music and everything that comes with it. For a while, it appears the music was falling second in line to all the hysteria that surrounded his fame—a situation that has been duly rectified.

Next year will see him return to Doncaster as part of his world tour for a very special homecoming and, with that mention, his face lights up with a grin on his face the size of South Yorkshire: “It’s going to be class, I can’t wait for Donny Dome. I don’t feel like my career has fully started until I do that first tour show, it’s all well and good writing songs, releasing songs, doing all the promo and everything that comes with it but the most important fucking thing is that you put on a good show. I started realising the longer that I’ve been in this that there’s a level of importance in these nights to people, especially the avid fanbase that I’m lucky enough to have. You can see from the reactions and look into people’s eyes and see what certain lyrics meant to them.”

What struck me the most from the time I spent with the singer-songwriter was just how grounded he was, seemingly bereft of any level of arrogance and still just that same local lad from Doncaster who began this journey ten years ago. His working-class Yorkshire heritage, he told me, is what has made him the man he is today: “You’ve got to be fucking humble where we’re from you know what I mean? Because otherwise you get called out like ‘who the fuck do you think you are?’”.

The greatest takeaway from our conversation is that Louis Tomlinson is still that music enthusiast that entered the music industry in 2010 who, despite all the success and fame, has managed to stay grounded. With surreal highs came earth-shattering lows—all of which has shaped him in one way or another. Instant success is no longer what he seeks with it now being about the long game for him, this change in attitude is a sign of maturity for Tomlinson who no longer losing sleep about pleasing streaming algorithms.

Having been sitting at the mountain top of the music industry for almost a decade, it seems it is only now he is really getting started with a long-term plan of where he wants his solo-career to go. With a strong sense of support around him, his future and creative vision is firmly in his own hands. With an abundance of experience behind him and has renewed enthusiasm, Louis Tomlinson is finally ready to find his own direction.

Walls is available on 31st January via Sony Music, for tickets to his world tour – visit here for tickets.

#louis tomlinson #29nov19 #far out magazine

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hlupdate · 5 years

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Looking on the bright side, however, since the break he has been allowed to live a bit more of a quieter life. From speaking with Tomlinson I get the sense that he’s in this because he loves the music, appreciates the love he gets from fans and loves playing live. However, the celebrity lifestyle that comes with it isn’t why he’s in this game. “I think I can definitely have a bit more of a balance now, there are obviously times when I’m releasing songs or releasing album when it’s really ramped up and I don’t get to see my boy, Freddie, as much as I’d definitely like to. It’s hard but definitely easier in those off times to have the balance because otherwise when you’re so busy it’s impossible to literally fit everybody into your life. It’s definitely nicer having more time to do normal fucking things,” he adds with an almost sigh of relief.

#louis tomlinson #far out mag #291119 #stunt mention

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callmeblake · 5 years

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Kerrang Issue #1761

Magazine Release Date: February 20th, 2019

Issue Label: February 23rd, 2019

Photo Credit: Jen Rosenstein

Illustrations: Brian Ewing

Partial Transcription (from pressreader.com) below:

Kerrang! (UK)

20 Feb 2019

words: emily carter illustrations: brian ewing

“MAKING MUSIC IS MORE FUN THESE DAYS…”

BREAKS HIS SILENCE

Since he was a kid, GERARD WAY has sought solitude in the world of graphic novels – first as a reader, and later, with the weight of the rock world on his shoulders, as a creator. But now, he explains exclusively to Kerrang!, working on the Netflix adaptation of his THE UMBRELLA ACADEMY series helped him reconnect with his love for making music, too…

Gerard Way keeps track of his personal goals using what he calls “the grown-up list”. One at a time, the 41-year-old will tick off these life objectives by means of self-care – a concept he’ll admit he hasn’t kept on top of lately.

“On the grown-up list are all these things that I have to do to start participating in life again,” he explains in a gentle, endearing New Jersey accent, dissecting a mysteriously methodical approach to his return to the public eye – though, it has to be said, still sounding very much like a big kid at heart.

For the past “two, three” years, Gerard feels as though he hasn’t been looking after himself while under the strain of his demanding career as a comic-book writer. And while his workload certainly isn’t slowing down any time soon – if anything, it’s on the increase with the reintroduction of music now, too – he is at least making his own positive changes little by little, “piece by piece”.

“Enough time goes by and you’re tired of feeling tired, and tired of feeling unhealthy, and tired of doing unhealthy things to yourself,” he admits. “I hit a point where I was like, ‘Enough’s enough. I gotta move my body and find a doctor.’ I hadn’t had a physical in I can’t remember how long. It was just time, you know?”

Undertaking this new journey, Gerard first started off by giving up smoking. He afforded himself just two weeks to ditch the cigarettes, before moving on to the next task. “You can’t do it all at once,” he explains thoughtfully. “I quit smoking before doing anything else – like change diet or going to see a doctor. I just take these things in steps. Even if I did have all the time in the world to attack the grown-up list, you have to take any major life change slowly and gradually.”

Had Gerard felt so inclined as to keep a similar grown-up list for professional targets when he first emerged as My Chemical Romance’s awe-inspiring leader in 2001, its trajectory would have accelerated significantly. Darting into the spotlight in 2004 with their astounding second record Three Cheers For Sweet Revenge, the frontman quickly became uncomfortable with the intrusive – and borderline paralysing – nature of their fame. It’s no wonder that, between 2006’s triple-platinum The Black Parade, and the festival-headlining status that came with fourth and final studio album Danger Days: The True Lives Of The Fabulous Killjoys, Gerard recently labelled the group’s journey as “uncontrollable”. The band’s explosion was just as dramatic as their eventual breakup almost six years ago, and it took Gerard just over a year to then return into view. An excellent Britpop-inflected solo LP, Hesitant Alien, followed in September 2014, and even landed at spot number four in Kerrang!’s top 50 records of that year. No grown-up list – no matter how fool-proof – could accurately record or predict those kind of whirlwind peaks and troughs.

In his life as a comic-book writer, though, Gerard’s accomplishments have kept up a steadier, but no less impressive, incline. As a graduate of New York’s School of Visual Arts and a former intern at Cartoon Network, his imagination and visual creativity was harnessed long before his audio talents came to light. While his comic-book debut in 1993, On Raven’s Wings, was cancelled after just two issues, Gerard’s near 100 (and counting) writing credits have just about surpassed his contributions in music; he even ran his own imprint under the legendary DC Comics banner for two years, Young Animal. And while its status is currently listed as ‘inactive’, Gerard has emphasised that it’s “not the end” of that venture. Now, his prominence as a fullyfledged award-winning comic-book writer is a marvel (no, not that kind).

“The thing about doing comics is nobody asks you about your personal life, they don’t ask you about the drugs you used to take, they don’t ask you if you’re breaking up,” he told Kerrang! while still with My Chemical Romance in 2010, openly battling with the allure of a life buried in books. “They talk about the work. I wish people would talk about the work in music. In music, people want to know what makes you tick – in comics, people don’t care.”

Given the appeal of a more serene existence, it’s clear Gerard’s current primary occupation perfectly suits him. Just as he helped change the face of rock 15 years ago, however, he’s beginning to make similar strides in comics. Once again, he’s got the big guns knocking on his artistic doorstep.

“If anybody ever asks me for advice about being creative, it’s always just to make the things you want to see,” he shrugs, either oblivious to his skills or just strikingly modest. “Make something that doesn’t exist, that you wish existed – that you wanna read, or see, or listen to. That’s the one thing that I’ve applied to everything I’ve done: all the art I’ve made and the music I’ve made.”

Following this surprisingly simple mantra, Gerard now has a tremendous feat on his hands: his apocalyptic comic-book series, The Umbrella Academy, has snowballed into a 10-episode live-action show of the same name, and hit Netflix last Friday. By now, you’ll probably have already watched the lot. For the programme’s main brain, though, while he may have spent release day just ticking off another box on the grown-up list (“I had a physical that day with a doctor, so…”), this marks the beginning of his “participation” in life again. Gerard Way is back.

Gerard Way is obsessed with comics. Across the span of our interview with the author-turned-musicianturned-author again, he says the word “comic” no fewer than 28 times – each utterance more passionate than the last. Yet it wasn’t until 2008, while still active with My Chemical Romance, that he began to feel the effects of his written works’ potential. And not just in the field of comics, either; he was suddenly struck with the realisation that he could make this his full-time work instead. When he and illustrator Gabriel Bá – a man Gerard credits constantly and with great

“I’VE ALWAYS AIMED TO MAKE SOMETHING THAT DOESN’T EXIST, THAT I WISH EXISTED” GERARD WAY

respect when discussing the project – were awarded a prestigious Eisner Award for The Umbrella Academy’s first mini-series, it shook him to the core.

“It was scary at the time,” he mentioned in a Kerrang! cover feature at a later date, “because it was another thing that said to me, ‘Hey, you could go and do this. You won’t have a huge career, but you could make a living. There was a part of me thinking, ‘I don’t have to be a singer anymore.’”

Just days after receiving their Eisner, Gerard and Gabriel’s graphic novel was optioned by Universal Pictures. Plans for a potential movie were in development “for quite a while”, until it eventually fizzled out and came back to Umbrella Academy’s publisher, Dark Horse Comics. Then, the idea for a TV show was conceived – and Gerard was instantly sold. Not that it was ever something he’d ever considered when first penning his comics all those years prior.

“You know, I tend to be a visual thinker,” he begins. “When I was first starting out, I was told to embrace the medium of comics: just make a great comic. I think that that’s a common mistake that people make – they see a comic as a film, and they’ll just present it as a film. And there’s a lot of things you can do in comics, and it would almost short-change that. You need to embrace what a comic can do, and then you’ll make a really fantastic one. If you’re just trying to present it as a film, it doesn’t work as well, in my opinion. I still follow that advice to this day.”

Gerard loved the idea of giving his painstaking and deeply intricate world a new long-form narrative, and a way of going deeper into the story’s characters (all of whom are either a reflection of people he knows, or himself). Before taking various meetings – including with Netflix – both he and Gabriel sat down with Universal Cable Productions executive vice president of development, Dawn Olmstead, and discussed their aims.

“My goal was to give those guys the material to make a really great show,” Gerard explains. “That way, if they made a show and it’s successful, they always have material to go back to. That’s always been my goal: to tell a really good story that I have control over.”

Nine years later after its original plans fell through, it was eventually settled that Netflix would be the way to go. Joining forces with a company that had both “the highest production value” and that was also “artist-friendly” made the most sense to all involved. “We knew they would let the show be what it needed to be,” Gerard nods.

By this point, the series’ creator had slipped away from the limelight to create a 20-page blueprint for show-runner Steve Blackman. The Umbrella Academy thus far has three volumes – Apocalypse Suite, Dallas and Hotel Oblivion – but Gerard will eventually complete the story through eight graphic novels in total, many of which are still to be finished (“I have it all planned out, and I’ve just got to kind of write it now…”). In advance of the show’s development stages, though, he needed to let his new colleagues know the whole plot.

“There were talks early on about how much of my involvement there would be – if I wanted to be a co-show-runner, if I wanted to write scripts,” remembers Gerard. “And I really put the emphasis on making the source material and making the comics, so I had to let go of certain things. I weighed in on a lot of them, but ultimately it was Steve’s call to make. I liked letting go, though, because it allowed me to keep moving forward in the ways that I wanted to, which is with the comics or anything else I want to do.”

Working with Netflix became a daily job. From set pieces to wardrobe choices, both Gerard and Gabriel would give extensive notes in the 18 months it took to produce The Umbrella Academy, ensuring a happy climate was reached between their individual artistic palettes. It’s not a giant leap to compare the birth of Gerard’s latest project to My Chemical Romance’s studio swansong, Danger Days. While still in the throes of The Black Parade’s overwhelming success, the frontman had moved to LA from New Jersey in 2008 and was focused on comics – not just The Umbrella Academy, but also a bold, bright new sci-fi spectacular: The True Lives Of The Fabulous Killjoys, a story of the aftermath of a battle against a tyrannical corporation. Having written and subsequently scrapped The Black Parade’s original follow-up, the frontman was then struck with inspiration on a family retreat in the wilderness, wracking his brains with what to do next.

“I had an epiphany, I had a vision,” he told Kerrang! back in October 2010, of how this new comic informed what would become My Chem’s fourth full-length. “I was writing all these crazy lyrics and they were fearless and fucking reckless. I had this vision in my head, and everything I had been working on in the comic – the masks, the laser guns, the cars, everything – started to swirl around in my head.”

So how does the creation of a comicinspired album measure up against bringing The Umbrella Academy to life on TV?

“You know, they’re both intense and stressful in their own ways,” Gerard smiles. “But one of the things I’ve learned as I get older is that being in the studio and making music isn’t nearly as stressful – it’s a lot more fun these days. Having said that, although things are a little more high-stakes on a film set, we had a lot of fun with that, too.”

Early last year, The Umbrella Academy’s primary architects headed to Toronto to oversee the first week of filming. They were there to “answer any questions and give a little direction”. Though their focus was undeniably on creating the best comic-to-screen transition

“AS I GET OLDER, MAKING MUSIC ISN’T NEARLY AS STRESSFUL – IT’S A LOT MORE FUN THESE DAYS” GERARD WAY

“I DON’T LIKE TO DWELL ON THINGS. I LIKE TO MOVE FORWARD” GERARD WAY

possible, Gerard also remembers the weather; it was snowing, a sight he hadn’t seen since touring Hesitant Alien three and a half years prior. Once more, his two worlds briefly reacquainted themselves.

While in Canada, he and Gabriel reviewed “dailies”. “It hit a point where it was like, ‘Alright, this train is going, they know what they’re doing,’ and I could divert my attention back to the comic,” Gerard says. “Then I was able to work on it remotely – most of the work from my end was done through email or phone conversations, so I could be anywhere in the world and I was still able to watch the footage on my laptop, or whatever computer I was at.”

Once that week was over, Gerard kept a distant watchful eye over filming, which carried on until July. Elsewhere, his time was split between writing more comics, drinking copious amounts of coffee, collecting vintage T-shirts and miniature painted figures, and watching his wife of 11 years, Lindsey – bassist of Mindless Self Indulgence – feed birds and squirrels at their family home.

Rather ironically, his days weren’t spent watching a great deal of television. Even now, he’ll partake in an episode or two of a binge-worthy programme if Lindsey wants him to check it out – but he’ll never consume the lot in one go. “I think that makes my opinion on what we’re making with Umbrella Academy, in a way, even more valid,” he suggests, “because I don’t watch all this stuff. I read a lot of books.”

Most exciting of all, though, is that almost every Friday, Gerard Way began to create music again.

Around 54 minutes into The Umbrella Academy’s fifth episode, there’s a mind-bending shoot-out featuring, among others, Mary J. Blige. While the action unfolds, a familiar voice quietly hits the eardrums. ‘ Imagine me and you, I do / I think about you day and night, it’s only right…’ croons Gerard Way alongside former My Chemical Romance bandmate and guitarist extraordinaire Ray Toro, in a cover of The Turtles’ hit Happy Together – both rich in personality, but also similarly honouring the original. It’s not the first time Gerard and Ray have teamed up in such a manner: last month, they unveiled another joint effort in the form of Hazy Shade Of Winter, originally by Simon & Garfunkel, for The Umbrella Academy’s official trailer. But this is arguably Gerard’s most epic comics-meets-music crossover yet.

Steve Blackman, says Gerard, “thought it would be really nice for the fans – both for fans of my work as a musician, and my work as a comic writer. He thought it would be really cool, and I thought it would be cool, too. It would be silly to not do a song for the show! We ended up doing a couple, which was really great. And I’m sure there will be more in the future.”

The music Gerard made each week last year wasn’t just for The Umbrella Academy – it was also for himself. Possibly over-ambitiously, the musician hoped to release these new sounds once a month, though his workload soon put paid to that. He does, however, now boast “quite the collection of demos”.

“Right now it’s just a stand-alone thing,” Gerard says, “but I think at some point – maybe for a vinyl or something – it would be nice to collect all these songs, just as a body of work for something that I did. With all the work and the show coming, it has been harder to try and do a song a month. And I knew that that would kind of happen back when I first mentioned the goal of trying to do that, just because of all the extra work that was coming. But we’re still making music every week.”

Gerard has enjoyed the process of juggling his own music and songs for Netflix enormously. His recent solo tracks – Baby You’re A Haunted House, Getting Down The Germs and a touching Christmas number featuring Lydia Night of The Regrettes called Dasher – have deliberately not been “overthought”, though music for The Umbrella Academy can be a little more laborious.

“It’s a bit more work, because it’s for something cinematic,” he explains. “It’s not that it has to reach a higher level, it’s just that it’s a different level. The solo stuff is just kind of up to me, and what I want that to convey, or what nature it has. Whereas with the show, everybody has to really be blown away by it. So maybe, in a way, it’s more a little bit of what Ray [Toro] and I and the guys in My Chem used to do; we apply a little bit more of that to what we do in these cover songs for Umbrella Academy.”

Is it a strange feeling to revisit that kind of creative process?

“It makes it really fresh and exciting,” Gerard grins. “It’s actually really nice to go back and do something like you once did it, because you have more experience and wisdom and knowledge. As you get older you bring all these things the way you used to do. It’s refreshing at times – especially if you’re doing a bunch of experimental things. It’s refreshing to go back to your core, and your roots, of what you used to do, and apply your new knowledge to that.”

Gerard Way’s musical future for now, then, will remain both blissfully free and totally spontaneous – a far-cry from his MCR days. But he couldn’t be happier about it.

“I like to move forward a lot,” he enthuses. “I don’t like to dwell on things very much. I don’t usually like to revisit them, either. I like to keep moving forward and putting out new things. I like to try new things and experiment.” Gerard repeats himself once more. “I really like doing that.” K!

THE UMBRELLA ACADEMY IS AVAILABLE TO WATCH NOW ON NETFLIX

#gerard way #K!1761 #kerrang #february 2019 #2019 #patch jacket #smithsonian institute shirt #jen rosenstein #kerrang art print

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onestowatch · 5 years

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13 Music Podcasts You Should Be Listening to Right Now

In case you haven’t quite got the memo, Spotify is for a lot more than streaming Billie Eilish and a playlist made up of lo-fi chill beats on repeat. The past few years have witnessed a veritable boom of podcasts, from both self-made creators and massive media outlets, covering a whole spectrum of topics and niche interests. As someone who has listened to over 70 hours of “The Adventure Zone,” a Dungeons & Dragons podcast hosted by three brothers and their dad, in spite of never having once thought of actually playing a game of D&D, it is safe to say this is no passing fad.

Podcasts exist as an inside look into a host of worlds you never once considered exploring, and this goes equally true for music podcasts. From in-depth examinations of your favorite artists and their works to dramatized true crime–style narratives of legendary artists, these are the music podcasts you need to be listening to right now.

Also, if you needed even more music podcasts in your life, did you know Ones To Watch has its own battle-style podcast where four tracks enter the ring and only one leaves victorious?

Switched on Pop

There is no escaping pop music, so you may as well enjoy, examine, and eventually begin to understand why exactly it is so popular. At least, that’s the ethos behind musicologist Nate Sloan and songwriter Charlie Harding’s phenomenal podcast. Each episode sees the duo breaking down pop songs to posit the question of what makes a song like “bad guy” or “Old Town Road” a hit, and what is their cultural significance in the music landscape at large? Balancing lighthearted humor with critical analysis, Switched On Pop is a podcast that will have you loving music you never knew you liked in the first place.

Where to Start: “Billie Eilish is a Different Kind of Pop Star (ft. FINNEAS)”

Dissect

Dissect is a music nerd’s dream podcast. Hosted by Cole Cuchna, the hit podcast series is rare in that rather than jumping from topic to topic with each episode, each season of “Dissect” holds a magnifying glass to one prolific work of one seminal artist. From the mythos of Frank Ocean, Kendrick Lamar’s To Pimp a Butterfly, Kanye West’s My Beautiful Dark Twisted Fantasy, Ms. Lauryn Hill’s The Miseducation of Lauryn Hill, to Tyler, The Creator grappling with his sexuality on Flower Boy, there is no shortage of reasons of why you need to be listening to Dissect.

Where to Start: “S4E14 - Epilogue: IGOR”

Song Exploder

Song Exploder may just be the best interview series in existence, largely due to the podcast functioning as less of a traditional interview series and more as a vivid recollection of artist’s most heartfelt work. The podcast series features musicians from all walks of life, from Fleetwood Mac’s Lindsey Buckingham to Bon Iver’s Justin Vernon, taking apart a single one of their songs piece by piece. It is akin to your grandparents recounting one of their fondest memories to you, if your grandparents just so happened to be world-renowned artists.

Where to Start: “Maggie Rogers - Alaska”

Disgraceland

In the wake of the massive popularity of True Crime podcasts like “Serial,” Disgraceland marries all there is to love about rock star worship and a culture’s obsession with the seedier aspects of the human condition. Blending music history, true crime, and transgressive fiction, Disgraceland is a dramatized retelling of some of music’s most enthralling criminal stories. Imagine the already engrossing stories of Tupac Shakur and The Notorious B.I.G. or Kurt Cobain and Courtney Love, albeit told through an exhilarating and entertaining modern-noir lens.

Where to Start: “Amy Winehouse: Rehab, the Muse and a Rare Talent”

And The Writer Is…with Ross Golan

Have you ever wondered who is the person behind some of your favorite songs? Then And The Writer Is… is the podcast for you. Each episode takes you behind the closed doors of the music and into the songwriting room with some of the greatest songwriters and creatives of our generation. If you love anything by any of today’s biggest artists, then chances are they have probably appeared on an episode of And The Writer Is… to provide an inside glimpse into their creative process.

Where to Start: “EP 54: Ben Gibbard (Death Cab For Cutie)”

Questlove Supreme

You shouldn’t be listening to Questlove Supreme just because its host is none other than the infamous Questlove (although that would honestly be more than enough reason for us). For starters, Questlove Supreme arguably features some of the best guests out of any other podcast out there. Ever wanted to hear John Oliver talk about his transition from The Daily Show to shaping people’s political opinions regularly? Or ever wondered about Michelle Obama’s first musical memories? Then, good news, because Questlove Supreme has all you could ever need and so much more.

Where to Start: “Ep. 113 feat. Michelle Obama”

Twenty Thousand Hertz

Twenty Thousand Hertz is likely the most prominent outlier on this list. That is not to say this is not a podcast of note, equally as deserving of your precious listening hours; Twenty Thousand Hertz simply does not address music or artists in the traditional sense. Rather, this is an examination of the sounds, the sonic textures, and the crucial building blocks that have allowed artists to create works that truly move people. Twenty Thousand Hertz is not just for music lovers, but for those who appreciate the perfectly intangible idea of sound as a simultaneously human-constructed and natural concept.

Where to Start: “#72 | 808”

Punch Up The Jam

Punch Up The Jam is a comedy and music podcast. How does that work exactly? Well, comedians and best friends Miel Bredouw and Demi Adejuyigbe invite one of their equally hilarious friends to attempt to fix a popular song, despite having absolutely no qualifications so to speak of. Laughs are had, chaos ensues, and more laughs are had as Punch Up The Jam begs the question: do you need to know anything about music to improve a hit song?

Where to Start: 77 - “Kiss From a Rose (w/ Travis McElroy)”

All Songs Considered

It would be impossible to create a definitive list of music podcasts without mentioning NPR's All Songs Considered. The nearly 20-year-old series has grown with the times, evolving from a lauded radio show to an award-receiving podcast. The generation-spanning medium for music discovery is hosted by Bob Boilen and Robin Hilton, and often features a range of guests that makes this already much-celebrated podcast into essential listening material.

Where to Start: “All Songs Rewind: The Worst Songs Of All Time?”

Hit Parade

For Hit Parade, the phrase “it’s a smash” is more than just A&R short-hand for any passing song they hear in mid-production; it is the genesis of music history. Produced by Slate, pop chart analyst Chris Molanphy seeks to uncover what exactly it was that made a song a number one smash. More than just a terribly informative music podcast, Hit Parade changes up its formula through bouts of trivia, music snippets, and enthralling storytelling.

Where to Start: “The Oh. My. God. Becky Edition”

Popcast

The best way to understand the very notion and ever-changing minutia of popular music is Popcast. Hosted by New York Times pop critic Jon Caramanica, Popcast homes in on not just what is trending on the Billboard charts but what is trending, period. From Taylor Swift and Scooter Braun’s ongoing civil war, the perplexing economics of the streaming era, to how memes can create bonafide artists, Popcast is what you need to be listening to in order to sound erudite at your next dinner party, even if you find yourself in spirited discourse over Lil Nas X.

Where to Start: “How Many Streams Is a T-Shirt Worth? Breaking Down Chart Dilemmas.”

Ongoing History of New Music

This next podcast is dedicated to all our lovely Canadian readers, or really anyone who is looking for an enlightening deep dive into music’s most notable artists and movements. Hosted by legendary Canadian radio broadcaster and music journalist Alan Cross, Ongoing History of New Music is Canada’s most well-known music documentary series. Featuring artists profile from the likes of Radiohead to Twenty One Pilots, narrative journeys of everything from Christian Rock to Britpop, and even the etymology behind some of music’s most elusive terminology, Ongoing History of New Music is a musical history wellspring.

Where to Start: “Stories Behind Songs”

The Great Albums

The Great Albums is a podcast series wholly true to its name. In unexpected yet utterly delightful fashion, co-hosts Bill Lambusta and Brian Erickson delve into some of pop, rock, and beyond’s greatest moments and musical accomplishments. More than just a track by track review of a seminal work from the likes of Jay-Z, Joni Mitchell, and Sufjan Stevens, The Great Albums is an examination of the notion of fandom and how that love affair is expressed through the lens of the prolific album.

Where to Start: “Radiohead - OK Computer”

#switched on pop #dissect #song exploder #disgraceland #and the writer is #questlove supreme #twenty thousand hertz #punch up the jam #all songs considered #hit parade #popcast #ongoing history of new music #the great albums #podcast #music podcast

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yeats-infection · 5 years

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if you have time & you don't mind, i'd love to read an explanation of graham coxon & damon albarn's relationship like the one you wrote on bradford & lockett a while ago ... started listening to blur from your reblogs & i love their music, but i don't know much about their relationship or the band in general or really any of the context surrounding their songs. all your tags have me so INTRIGUED. don't worry if this is a big ask; & i hope the new yr is treating you well!

thank you for asking anon. i hope i can do this medium justice. i could say many of the same things i said in my deerhunter post! their partnership and friendship is the core of the band and is why they are the band they are and why they’re so good! they are proof that friendship is the most powerful force in the world!

putting this behind a cut because i got carried away. this also became a primer on Why I Love Blur and Why I Think They Are Special. but i feel like this isn’t even the half of how i feel.

something i would do if you have a free day and feel like torturing yourself is read all the blur interviews from the nineties that are scanned and linked here (bless the people who operate this website). the more contemporary ones from after their reunion are usually very charming. the ones from 1999-2002 are invariably Extraordinarily Sad. the ones from 1995-8 are often Borderline Journalistically Irresponsible. and the ones from before 1995 run the gamut from hysterically funny to guaranteed to fill you with extreme concern for the mental health of everybody involved.

here is one of my favorites of those interviews which goes into the story behind every song they had released until 1995. made me appreciate a lot of the leisure demos even more

here they are in an interview in 1994.... why don’t music magazines do a “best friends” issue anymore ( / why are there no music magazines anymore)... this is one of the first interviews i read with them and it picked up a piece of my brain and moved it. there is... so much in here...

this is my other favorite, from 1996... though it is kind of painful to read in many ways and is indicative of an Extremely Bad Time...

the Long Story Short (ish): they were childhood friends and started playing music together before they were teenagers, damon moved to london to be with graham who was at art school, they started the band which became blur with alex and dave. they started off sounding like the stone roses’ “fools gold” because that was the Sound of the Moment. they then pivoted their entire sound and vibe for almost every album. it is the constant pivoting i think that makes them such a mind-boggling band to me. it’s amazing when any artist reinvents their sound and tries something new because it is such an incredibly risky thing to do. it’s basically unimaginable to me that they did this multiple times in incredibly severe degrees as one of the biggest pop bands in the world whose sound was already kind of a weirdo outlier. and they did much of the pivoting so that they wouldn’t be pigeonholed, and so they could stay true to themselves and each other. like, WHO in our modern musical atmosphere would go from an album with this song on it to ONE YEAR LATER an album with this song on it?????

ANYWAY:

pivot #1 was to become Violently British in response to disastrously touring america around the explosion of grunge, following which they made modern life is rubbish even as their label told them it would be “artistic suicide”

pivot #2 was when they made parklife and invented britpop. this album was a Big Deal. they literally created an entire genre and scene and vibe to fit what they were doing and then wrecked it.

[ they did not pivot on the great escape which is a much maligned album but which has some truly Great Songs. the first single from this album is “country house” which was the subject of a press-manufactured chart battle with “roll with it” by oasis, which became “the battle of britpop” which in itself is was a kind of proxy standoff about class and the kind of north/south tension i am not qualified to discuss as an american. “country house” made it to #1 and graham showed up extremely distraught at damon’s soccer game to tell him and then later that night at a party tried to jump out a window. they hated being famous and had gotten really tired of making and playing “chirpy songs” when it wasn’t how they were feeling. graham wrote a letter to damon telling him that he wanted to make music “to scare people again.” HENCE: ]

pivot #3 is for the s/t in which you can literally feel the sensation of damon getting into pavement so that graham won’t leave the band. my favorite blur song maybe is “country sad ballad man” which has extreme pavement energy. the guitar under the vocal is insane alchemic perfection. also very meta in that it’s about being a washed up rock star. here’s the dumbest and most charming video from this album.

pivot #4 is to truly cosmic territory in the form of 13. nothing else like this record exists. we all can only aspire to making something like this record. i will disclose that i don’t like “tender,” the first song and single which is in itself a kind of shocking pivot in its emotional nakedness. “1992″ is where it’s at for me... which was a demo from the year 1992 (modern life is rubbish sessions) that they rediscovered and remade... the guitar ascending at 1:50... this album is nominally about damon’s longtime girlfriend leaving him and i think you can catch that lyrically but the push/pull of all the vocal and guitar... it’s all these kind of painful warring duets. they couldn’t work together anymore! they wanted extraordinarily different things which could barely coexist. so damon wrote their second full album of “please don’t leave me” and graham ripped all the songs to shreds. the other night i got teary listening to the instrumental outro, “optigan 1.”

[ i haven’t listened to think tank because graham only plays on one song (which i have listened to, “battery in your leg,” apex of suffering, 45 seconds in, do you ever disintegrate) and because whenever i like a band a lot i can’t bring myself to “finish” their catalog. graham left the band during recording sessions because he had gotten sober and couldn’t fake it anymore. during the many years in which they did not speak, they went to each other’s solo performances to watch each other secretly. ]

now they are friends again! they made the magic whip in 2015, which was another pivot in itself.

the amazing thing i think, to get back to the question you initially asked me which i have totally strayed from, is that damon has the absolute pop magic and graham can’t let it be... he has to make it more difficult and challenging and knotty and loud. they need each other because they challenge each other to be better musicians. the songs when you can really hear the tension are totally electrifying and are their best work. it’s the dynamic between their different visions of what they wanted the band to be, the push-pull and the wrestling, that make it all so interesting to listen to...

and that’s my novel on the subject (for now). i’m tagging @piovascosimo to make sure i got everything... beta is the expert who has been a fan since 2002; you might want to follow her.

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peckhampeculiar · 5 years

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True to form

Words Katie Allen; Photo Lima Charlie

One of the best places to find a stylish outfit – not to mention a gift or two – is Form SE15 on Bellenden Road.

Locals will have noticed that the gal behind the garms is Jo Johnson, previously manager of Bellenden Road favourite Bias, which closed earlier this year.

She opened her own store in May. “I really enjoy it. I love being my own boss, making all the decisions. Everything in the store [is there] because I want it to be.”

The premises was previously a vintage shop, and the owners wanted it to remain retail. The lease came up at the same time as Jo’s role at Bias came to an end: “It was serendipitous really that things fell into place at the right time.”

“When I found out the shop was closing, I had a couple of months where I was like: ‘OK, what can I do?’ If I was ever going to open the shop it was the perfect time. But I didn’t have the financial means- [eventually] I got a government start up loan and a friend invested.”

It was a whirlwind. “In January, I found out I was losing my job. I was doing my business plan, all the while not knowing if it was going to happen. Literally in the middle of March I was approved for [the loan]. Six weeks later, the shop opened.”

Form SE15 sells clothes and accessories for women and men, as well as a curated collection of bathroom products and gifts, from the luxurious to the quirky, all handpicked by Jo.

“I want people to step into the shop and feel uplifted, [have] a really happy, positive experience. Other people can do austere, pared back very well, and that’s not me, I’m more of a maximalist than a minimalist. I like a lot of print, I like a lot of colour.”

Fashion runs deep - her mother was a seamstress. “I literally had a toy sewing machine at eight, making disco outfits for my Sindy… I knew very early on that I wanted to at least train in fashion,” says Jo, who hails from rural Norfolk. “I go back [to Norfolk] every few months or so and I really appreciate it now. At the time I couldn’t wait to get away.”

She did fashion design at what was then called Norfolk Institute of Art and Design followed by a degree in fashion promotion and illustration at Epsom university. It was the early 90s, when Britpop was exploding, a “really freeing time”. “I was in the Blur camp. Within six months of moving, I shaved my hair off and pierced my nose,” she laughs.

After university, she moved to London and worked as a photographer’s assistant, then in a variety of creative fashion jobs while battling long-term illness, including as an art agent and starting her own fashion label.

She had had several jobs in fashion retail before working at Bias. While there she gained invaluable experience in going on buying trips, scouting new labels and going to trade shows. “I saw behind the scenes, it was a really good learning curve.” She adds: “If you work in a shop in the area, you start to soak up what people like, what people want.”

Her customers are mainly locals, with a mainstay of working women and mums on maternity leave. “People know me from [Bias], so a little bit of trust is there. People like to feel comfortable with a shop and trust the people who run it… [I wanted to] make it a boutique where you can get gifts, a card, a candle. People like to spend their money in the area, support small business.”

It is the same vibe that she brings to her own buying choices. All of her clothing brands have “traceable supply chains” – she says: “You have to be ethically and sustainably aware these days, especially if you’re an independent.

“It’s what makes me different. And also, people will ask questions, that’s the other thing about round here: people want to know about why you’ve got things in, where it’s from.”

Her ceramics and jewellery come from local makers and she stocks Peckham Soul wares, while her beauty products are carefully chosen too. She highlights Austin Austin and Magic Organic Apothecary.

“I am one shop, but you can still make an impact. You want the shop to make money of course, but you can do it in a positive way.”

Bestselling brands at the moment include Baum und Pferdgarten for women and for men, UK brand Far Afield. Her recommendations for Christmas party season include Gestuz’ black sequin maxi skirt and a dark green animal print jumpsuit, or from Baum und Pferdgarten, a lemon mohair sweater with balloon sleeves.

She notes: “[In London] you tend to see people want to dress well day to night time. What works is relaxed, cool, rather than anything too fussy.” Her fashion muses are Tilda Swinton, Neneh Cherry and Karen O from the Yeah Yeah Yeahs, but she also takes inspiration from the streets around her.

“It’s such a cool place to watch what people are wearing. On Rye Lane you have all the different African textiles and patterns, a lot of sportswear, more young people coming in. There’s such a mix of cultures and ages in the area.”

She recently moved to Queen’s Road, and previously lived on the other end of Bellenden Road. She first moved to Peckham 16 years ago. “I came here, saw the house, walked round, and felt really comfortable, in a way I hadn’t felt comfortable in any other part of London. Peckham’s the first place [in London] that I felt like I could make it my home.”

“There’s also a lot of green space – if you’re from Norfolk, you need it!

“I didn’t want to have a shop anywhere else, because I felt like I wouldn’t know the people as well. I never want to move, you’re going to have to crowbar me out.”

She has worked hard to make Form SE15 a “friendly, local, neighbourhood shop” and after six months already has regulars. “You become a bit of an agony aunt in a nice way, you hear everyone’s problems.”

She runs events which have so far included terrarium-making with Jar & Fern, leather workshop with Rye Hide and candlemaking with Join Candles. She has a Christmas wreath making class on 13 December, and she is thinking about more for 2019.

One particular item everyone should add to their Christmas lists is a new candle called Nurture, that Jo has created with Join Candles. Priced £15, with a rose geranium oil base, 100% of the profits are going to Peckham Foodbank. “Peckham’s given me a lot, it’s a way to give back,” she says.

I take the chance to ask Jo what we’ll all be wearing next year. Animal print is continuing as a big trend, she notes, as well as sportswear. As for colours, we’ll be donning silver and also luminous yellow and orange: “real highlighter colours”. Thanks to Jo, it looks like the future is going to be bright.

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aion-rsa · 3 years

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This Is Pop Review: Netflix Documentary Unpacks Pop Music

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It doesn’t matter how pure a sound is when it catches the ear’s attention, someone in the music industry will find a way to infect it. Pop music is infectious by design, and Netflix’s This Is Pop, reveals the delivery system. The eight-part docuseries focuses on some of the less unexamined moments of the most scrutinized genre in music. It is as depressing as it is exhilarating, and it barely skips a beat.

Much like the recent Apple TV+ series 1971: The Year That Music Changed Everything, This is Pop shows how pop music reflects and influences culture. Music has always been a great unifier, both for listeners and musicians. Regardless of race, faith, or sexual preference, everyone has a favorite song, and people are drawn to the art of music from every background. What starts as a neighborhood sound moves beyond the streets, and for every Boyz II Men, there’s a new kid on the block. They may not always be in sync, but they know how to make money off it.

Even the Brill Building, located on 1619 Broadway, which trained a generation of young composers to match melodies with danceable beats, turns out to be just another machine in “The Brill Building in 4 Songs.” The gathering place for all that young talent, from Neil Sedaka, who speaks in the series, through Carole King and Gerry Goffin, Burt Bacharach and Hal David, Lieber and Stoller, was molded on the structure of Ford Motors. The songwriters were just factory workers churning out hits on an assembly line.

When big money trickles down to create an international happening like the US Festival, it is a misstep on a road to gauge concert-goers. “Festival Rising” begins with a young voice almost audibly rolling her eyes at the not-so-innocent innocence of the early music gatherings. Jefferson Airplane’s Jack Casady and The Mama & the Papas’ Michelle Phillips explain how counterculture happenings like the “Human Be-In” at Golden Gate Park led to the loving unification of Monterey Pop. The arc of the Glastonbury Festival is fascinating. The demise of Woodstock is sadly inevitable. Altamont isn’t mentioned.

Most of the stories are fun, and unexpected. Who knew a well recorded demo on a shitty cassette could go on to become an international sensation? The strangest things happen when a song gets stuck in your head or a tape gets stuck in the deck of a car stereo. Record deals are made that way. Every episode opens with an innocent telling of an origin story. A kid who wants to be an athlete gets stuck in a gifted school and learns to score harmonies instead of field goals. A bunch of bikers and hippies go looking for a place to hear music without ceilings. A song hook gets perfected on the dance floor of a disco. Someone turns a knob all the way down on a program that wasn’t designed for it. Hey, if Spinal Tap can put their amps to 11, why can’t Cher turn the automatic tune correction down to zero? That’s not rock and roll, but it does pop.

The 1971 documentary adhered to the Homer Simpson sentiment “rock stars, is there nothing they don’t know?” No one expects this from pop stars. But it’s not like This Is Pop replaces the Vietnam War with the Oasis vs. Blur battle. Every episode includes sequences dealing with real issues and social injustice. Even if it’s just T-Pain getting razzed on a plane by Usher for destroying the art of singing. “What Can A Song Do?” showcases how the 1991 Anita Hill hearings led to Bratmobile, and Bikini Kill created the first safe space when Riot Grrrls directed “girls to the front” at shows. Gay rights suppression in Russia gets translated into an anthemic hit in America.

Racism, sexism, queer politics, and classism fill beats in every aspect of Pop music. Shoegaze legend Lush is told to show up at a photoshoot in a bikini with a champagne glass when being fitted for Britpop. Lil Nas X breaks the country music industry’s achy breaky hearts when he has a hit with “Old Town Road.” Public Enemy’s Chuck D vividly recounts how he reached back to the Isley Brothers for “Fight the Power.” When he says he wanted to capture how that song made him feel, he makes you feel it. “You can scream as much as you want,” Chuck D says, “but until you start breaking windows, that’s when they say ‘oh you gotta do something about this. It’s like American Pie.”

When Noel Gallagher breaks through George Harrison’s “Wonderwall,” it’s only because he needs the right word to finish a line. A song can’t change the world. “Music has no agency, only people have agency,” we are told as archival footage presents conflicting conclusions. During the late 1940s, while Woody Guthrie was a traveling troubadour from California to the New York island, Americans found strength in their proud use of Mexican labor. People wanted to do things together, his son Arlo Guthrie tells the camera. This flashback cuts to more recent footage of calls to build a wall between the two countries, and the weakness at its center. For every step forward, there is a pirouette backwards, except in country line dancing.

“When Country Goes Pop” sums up the basic premise of every genre highlighted. Country Music is supposed to be all about authenticity. Willie Nelson and Dolly Parton are labeled authentic, even as they consciously move toward the mainstream. Shania Twain made country music more popular than ever, but old school Nashville cats are too hypnotized by her belly button to recognize her genuine songcraft. Steve Earle ushers in the Integrity Scare, until Garth Brooks starts flying over audiences at concerts like he’s the Thin White Duke. The deepest visual representation of the genre’s authenticity comes in black and white photographs of members of Nirvana and Alice in Chains looking at Johnny Cash like he is god when he’s recording with Rick Rubin.

But is Ace of Base’s Ulf Ekberg any less authentic when he remembers playing the backing track of “All That She Wants” on a dance floor every night to ensure it got people moving before putting vocals on it? Blur arrives in America the day Nirvana lands. They decide to re-Brit themselves. What’s more authentically British than three chords and a Union Jack? Arlo Guthrie sums it up succinctly when he remembers his dad saying “the job of the songwriter is to disturb the comfortable and comfort the disturbed.”

“Auto-Tune” is the only episode which truly blurs any idealistic version of authenticity. Invented in 1997 by Dr. Andy Hildebrand as a way to measure oil deposits, the episode about the automatic tune correction function leaves more sludge than the Exxon Valdez. We actually hear an appreciation for the idea that singers no longer have to be able to sing, just look good. These words are said. Out loud. By a second-hand source, but they are there. For all the talk of social injustices thrust on artists, this may be the most infuriating. Because it is an imposition on the art itself. It is not a social wrong which can be righted by song. The song is the culprit. But, like “Stockholm Syndrome,” it shows how the entire industry goes from captivated to captive. They even explain how great jazz stylists of the past would need autocorrect if they were recording against the synthesizer-perfect, quantized music of today.

One segment recognizes Billie Holiday’s “Strange Fruit” as an invitation to mourn, not a call to unite. It is not considered a protest song because it personally invites people who do not know the pain of racial violence to understand it from the inside. While Motown is generating top tens, and its Berry Gordon wants nothing controversial within the walls of Hitsville USA, “Ball of Confusion” by the Temptations brings revolution to the mainstream. A Tribe Called Red brings traditional indigenous dances and music, officially banned by the Canadian government, to the dance floor as a technical protest, proving you can find the groove in any revolution.

“The Boyz II Men Effect” shows how the purity of the mix of Motown and Philly Sounds set a new standard for R&B in the 90s. Nate Morris, Wanya Morris and Shawn Stockman look back on keeping it real, truly expressing their desire to be listed among the great singing groups of the past based on ability. They want to be the Temptations, the Miracles, or the Moonglows, serious artists with strong voices who know how to structure songs and layer harmonies. They wind up creating the Boy Band genre, as we hear 98 Degrees’ Nick Lachey and New Edition’s Michael Bivins reverently recall how they wanted to be Boyz II Men. Record companies gave them the chance, replacing the Black artists with white pop stars for greener pastures.

“Hail Britpop!” is absolutely the wittiest of the installments. Blessed be the cheesemaker. Blur’s Alex James is hysterically sardonic. Miki Berenyi from Lush still rolls her eyes over people’s reactions to a Flange pedal. Sonya Madan from Echobelly rips the entire scene from the inseam. None of the episodes really take themselves seriously, but in this one, they tear themselves apart, even more than the Swedes, who never say nice things about themselves.

Of course, the best part of This Is Pop is searching for the songs after they are mentioned. The documentary is very generous with samples, but they really just serve as appetizers. Even the songs which make you switch stations on the car stereo or get left on the dance floor are time capsules. The docuseries can’t encapsulate everything, but is a good representation of how perceptions are at this exact moment in time. Just like any good song.

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This is Pop is available to stream on Netflix now.

The post This Is Pop Review: Netflix Documentary Unpacks Pop Music appeared first on Den of Geek.

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dreamings-free · 5 years

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by Joe Taysom November 29, 2019

Looking on the bright side, however, since the break he has been allowed to live a bit more of a quieter life. From speaking with Tomlinson I get the sense that he’s in this because he loves the music, appreciates the love he gets from fans and loves playing live. However, the celebrity lifestyle that comes with it isn’t why he’s in this game. “I think I can definitely have a bit more of a balance now, there are obviously times when I’m releasing songs or releasing album when it’s really ramped up and I don’t get to see my boy, Freddie, as much as I’d definitely like to. It’s hard but definitely easier in those off times to have the balance because otherwise when you’re so busy it’s impossible to literally fit everybody into your life. It’s definitely nicer having more time to do normal fucking things,” he adds with an almost sigh of relief.

Walls is available on 31st January via Sony Music, for tickets to his world tour – visit here for tickets.

#to read #this is looooooong #louis #interview #article #far out magazine #29.11.19 #dlibyh promo #one (1) quick name drop of fake fred lol

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gossipgirl2019-blog · 6 years

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Caitlin Moran: Woman of good repute

New Post has been published on https://gr8gossip.xyz/caitlin-moran-woman-of-good-repute/

Caitlin Moran: Woman of good repute

Caitlin Moran tells Hannah Stephenson about the film adaptation of one of her novels, and her latest tale of a young journalist battling against revenge porn.

Caitlin Moran. Photo: Stuart C. Wilson/Getty Images.

Outspoken feminist, bestselling author and award-winning columnist Caitlin Moran is one entertaining — and exhausting — individual.

Her fast-talking, expletive-filled chatter is amusing, opinionated and feisty in equal measure, as she talks about everything from her upbringing on a council estate in Wolverhampton, the eldest of eight children, to her experiences of sexual harassment in the workplace.

Her book signings go on for hours and often seal friendships as people wait, although she’s also witnessed the occasional punch-up when there’s a bar close by, she observes wryly.

One fifth of the ONE THOUSAND FIVE HUNDRED books signed for tonight’s Royal Festival Hall gig #noblehandcramp pic.twitter.com/wZXxjUGThA

— Caitlin Moran (@caitlinmoran) June 26, 2018

“You see girls walking towards you and you think, ‘Oh my God, in 10 years’ time, you are going to change the world. You have such an air of destiny about you’. I like to tell them that, that they have an incredible aura about them.

“People used to say that to me when I was younger and it does change the way you think about yourself.”

In Moran’s case, it certainly proved true. She published her first children’s novel, The Chronicles Of Narmo, at just 16 and became a columnist for The Times at 18, while her bestselling books include How To Be A Woman and Moranthology.

Her latest novel, How To Be Famous, is the second in a semi-autobiographical trilogy following the adventures of Johanna Morrigan, a 19-year-old columnist (known as Dolly Wilde) for The Face, who makes a name for herself against a backdrop of 1995 London at the epicentre of Britpop.

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While climbing the career ladder, she has ‘bad sex’ with a loathsome young comedian who videos them in the act and then shows the video to his friends. As the story of the sex tape spreads, Johanna sets out to wreak revenge on the comedian, while her romance with a rock star she’s lusted after for ages develops.

“She’s a clever teenage girl writing a column about how people are screwing up their fame, and then finds out that there are many kinds of fame and the fame that she gets is notoriety,” Moran explains. “

Even though it’s the Nineties, there’s so much revenge porn now, and I wanted to write how a teenage girl would deal with revenge porn and sexual shame.”

There is a ‘Me Too’ reference, although Moran believes she wrote the book after the real campaign began.

She herself experienced sexual harassment during her early career, but didn’t realise it immediately.

“When I was working for magazines, the first time I asked for a cover feature, the features editor told me to sit on his knee and come and talk about it.

“In my head, I was thinking, ‘I’ve always been a fat and unattractive child. I’m now being sexually harassed — is this an upgrade?’”

“I just dealt with it as I would deal with an annoying brother, I just sat very heavily on his knee and bounced up and down and said, ‘Yes, I’d like to write a feature, please’. He gave me the feature and never did it again.

“Another guy tried to sexually shame me by telling people I’d had sex with someone from the office. I made him stand on the chair in an editorial meeting and apologise to everybody for spreading rumours about me.

“I ended up marrying the guy that he was spreading the salacious gossip about — he is my husband now.”

That man is Times rock critic Peter Paphides, whom she met at 19 and married at 24. They have two daughters — Dora, 17 and 14-year-old Eavie — who are, unsurprisingly, both feminists.

“I’ve got pictures of them dressed up as suffragettes on marches with their placards. We’re all excited about Trump coming here. We’re going to march against Trump — that’s going to be a big family day out,” says Moran.

While her writing and social commentating have earned her great acclaim, Moran is now dipping her toes in the movie world, as her first novel in the trilogy, How To Build A Girl, is being made into a film starring American actress Beanie Feldstein, best known for her role in coming-of-age hit, Lady Bird.

“I’ve always wanted to make movies, I’ve always wanted to make TV, so it’s been the best thing. We’ve got an incredible cast and some incredible cameos — famous people who like my books and have very kindly agreed to be in it.”

She is clearly in control of the project. Moran is executive producer, has penned the screenplay, and selected the band who will write songs for her fictional pop star.

It’s really real: pic.twitter.com/CCF3FQZa3D

— Caitlin Moran (@caitlinmoran) June 8, 2018

She’s been involved in casting, the settings, wardrobe, make-up, the lot. “It’s basically the story of my life and I know what’s right and what’s wrong,” she asserts.

She’s even helping Feldstein with her Wolverhampton accent, by sending her recorded tapes of her voice.

“I realise now, because I’ve lost my accent, that I’m basically doing an impression of Noddy Holder,” Moran quips.

“Beanie Feldstein looks a bit like me. When we started developing the script, it was a leap of faith because the chances of finding a young actress who’s big and curvy, brilliant and charming and beautiful… you just don’t get those actresses coming along. Then Lady Bird came along and there was Beanie Feldstein.”

Can FINALLY talk about this – what we’ve been working on for the last two years. SCREAMINGLY excited. Oh, the first scene is a DOOZY. And Beanie is just … astonishing. The world is going to EXPLODE with love for her. https://t.co/OTfflGazv5

— Caitlin Moran (@caitlinmoran) May 9, 2018

While there is great humour in the novel, towards the end the tone becomes more punchy, as Johanna seeks to put her own feminist point across and put the comedian in his place. “My modus operandi is to lure people in with jokes and sex and dirty stuff, and then hit them with the politics and the feminism.”

The third book will be set in the present day, when Johanna ventures into politics.

“I wanted there to be a story that girls like me can read and go, ‘Oh God! I could be a politician! I could change things! I could go back to a system where working-class people with great ideas can change things for the benefit of their kinds of people’.”

Today, Moran writes a celebrity column, and says the nature of celebrity has changed since she started writing it a few years ago.

“Coming from a council estate in Wolverhampton, I realised very early that there are three kinds of power: Political power, financial power, and the power of fame. This is a more accessible power, particularly if you’re working class, than any other.

“The biggest change in the last 20 years is there’s a famous class who are famous just for being famous,” she adds.

“Before the turn of the century, you would have been famous just for having done something creative, like writing songs.

“As the gossip press got bigger, these people who just wanted to create things would be interviewed on who they’re shagging, what they’re eating, what’s their exercise regime and have they put on weight.”

“We invented reality TV, and we invented people who just did the famous bit. We hived off the celebrity gossip but away from the fame and creativity bit, which was previously the only form of fame we had. That’s an incredibly benign thing to do.”

But she doesn’t think that’s necessarily a bad thing though.

“If you look at why celebrity gossip exists, it’s because there are a million instances every day when you need to have a conversation with someone you never met before that lasts for two or three minutes.

“You don’t want to talk about politics or the weather, you just need something vacuous to talk about.”

How To Be Famous is out now

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