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bts-weverse-trans · 3 years

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210104 Weverse Magazine ‘Be’ Comeback Interview - Suga

SUGA “I'm grateful that there are still unvisited areas in the world of music” BTS BE comeback interview 2021.01.04

SUGA has this way of talking passionately with a deadpan look on his face. Full of passion about his life and music.

How is your shoulder? SUGA: Good. I think it’ll get even better once I take off this brace. Apparently, it takes several months for a full recovery, but I'm trying to get better as fast as possible.

How does it feel like to have resolved a problem that has distressed you for long? SUGA: First of all, I'm glad. The pain is one thing, but when my shoulders got worse, I couldn't even raise my arms. But when I heard that this might recur when getting the surgery at a young age, I waited for the right time and had decided to get it done early next year regardless of the COVID-19 situation. I had planned to get the surgery after the year-end stages, but I got it done this year (2020) because my doctors advised me to start preparing early for next year’s promotions and activities.

Is that what made you join the promotion as much as possible? You shot lots of video footage in advance and you even appeared in the Mnet “2020 MAMA” through VR. SUGA: Fake SUGA (Laughs). There’s this 3D studio where we shot it. I shot, scanned, and acted there, but couldn't see the actual result at the studio. I thought a sense of displacement was unavoidable, and that was exactly the case. (Laughs) I acted normal because it would have been aired anyway even if I hadn’t had the surgery, but it seems a lot because it’s aired after the surgery.

You must feel restricted not being able to go on stage. SUGA: The thing is, it's only been a month after I got surgery, but my absence on stage is so apparent. But my doctors keep telling me that I shouldn't be impatient and in fact, many athletes get a resurgery when they return to the field without proper rehabilitation. So I'm working on trying to care less. For the first two weeks after surgery, I felt so frustrated that I tried out new things. I even watched movies I didn't watch.

Could you elaborate on that? SUGA: A lot of candidates on ‘Sing Again’ are very talented but hadn't had the opportunity, and on ‘Folk Us’, I noticed that many took their own guitars on stage. I started playing the guitar lately and I'm having this urge to broaden my scope of music. And since my interest in the music industry in the U.S. grew, I'm getting prepared, studying English and all.

What fueled your interest? SUGA: In some ways it’s the most commercially developed market. You could lose the industry attention in a flash if it's not feasible. So in this system, you would try everything and that would be an efficient way. I want to do music for a long time, and to this end, I always want to learn more about the global music industry because I want to do music that’s loved not only in Korea, but also in the U.S., Japan and Europe.

Speaking of which, it seems BE was influenced from music of the past rather than today's trends. SUGA: I especially like impromptu music. I love the songs that were made in one take instead of being recorded several times. In this era of crossover genres, the desire to do better in music is growing inside me.

As the genres become more blended, the melody you use must be more important. Does starting to play the guitar affect your composing in any way? SUGA: I always liked using guitar sounds. And I have always liked the Eagles. If you play the guitar, it’s way easier to write songs because you can carry it along wherever you go, pluck on the strings to create melody lines. Keyboards are difficult to carry around. (Laughs) I usually work on my laptop but I had this thought that I definitely needed an instrument. It accelerates my work and improves my understanding of chords.

It makes me think you could intuitively make melodies. SUGA: It’s easier to write a song because you can intuitively make a progression and try many different things. During my work on ‘Eight’, IU had recorded and sent me a song from her phone. At the time I couldn’t play the guitar, so we tried to make sure we’re working on the same page when keeping track of each other's progress. That made me feel the need to learn an instrument.

When I listen to your singing, it feels like you’re hitting the beats rather than singing along the notes. So I thought perhaps you're singing as if you're rapping. SUGA: When you're rapping, you just think of the rhythm, so it’s like simply putting on a melody to a rhythm. To define which comes first, I think melody adds to it while writing the rap.

In ‘Life Goes On’, the lyrics ‘Thankfully between you and me, nothing’s changed’ are somewhere in between. It's not rap but it’d be mundane to say it's a mere melody. SUGA: There are obviously songs where the rap needs to be highlighted. For example, in ‘Dis-ease’ or ‘Ugh!’, you have to be good at rap. But in songs that should be easy to listen to, impressive raps are not always the way to go. Sometimes, you want smooth transitions without obstacles.

In that sense, the rap flow of ‘Blue & Grey’ was impressive. Rather than a dramatic effect that emphasizes each part, you extended the rap just as much as the slowing beat. SUGA: To be honest, this beat is difficult to rap to. The beginning of the song only has a guitar line, which made it even more difficult. I participated when we wrote lyrics for ‘Blue & Grey’ and I've always wanted to work on a song like this. It was because verse 1 talks about the theme of the song.

Many creators are unsure even after they’ve produced good work. How do you get the conviction to release your work? SUGA: Many musicians are unsure whether they should release their music or not. It was the same for me, but the thing is, you’ll never release anything if you nitpick everything. For example, if we release 10 songs, we have a chance to unveil them in concerts or fan events. And sometimes, as we listen to the song, we think, ‘Why does this part that had bothered me no longer bother me?’ Some things might feel awkward at some point, but in time, it no longer feels awkward. Even I forget about it. So it's more efficient to fine tune, looking at the big picture, rather than thinking too much about the details. On top of that, during promotions, I don’t have the time to pick tracks that others have sent for 10 hours. It would be a success for all of us if each of us play and write a melody in their own time and collaborate with others on the details. So the way of songwriting has evolved in many aspects.

What motivated such evolution? SUGA: I think it evolved naturally. I've changed in personality this year (2020), as well as in terms of my interpretation and attitude toward life to the extent that I almost thought I've been rehearsing. How would it feel like if there were no stage to go to or anyone looking out for me? This thought made me realize the value of these things.

In ‘Dis-ease’, you sing ‘I don’t know if it’s the world that's sick’. Was it this lifestyle that changed your thoughts about your work? SUGA: Yes. When I was young, I had embraced the belief that ‘It must be my fault’, but as I got older, I realized that this is not always true. Most of what I had thought was my fault was in fact, not my fault. On the other hand, there are things that I did well and times I had been lucky.

‘I NEED U’ came out during a time when you were still thinking, “It must be me”. After the members put on a stage with ‘I NEED U’ in KBS' ‘Song Festival’, you wrote on Weverse, “It’s the same as five years ago.” How would you compare with back then? (This interview was held on December 19, 2020.) SUGA: We've matured quite a bit. And our stage performances have become more natural. I still like ‘I NEED U’. Just listening to the beat makes me sentimental, and above all, the song came out nicely. So as I was watching this and that when I stumbled across old videos. Watching them made me think that we haven’t changed much.

I'm amazed personally. I’ve had the chance to meet the members before your debut, but from your way of talking with members or others, it seems you haven't changed. SUGA: I think it's because we don’t give it a big deal about success. For example, it's incredible to be ranked first on the Billboards, but there’s also this sense of, “Okay, and?”

Even the Grammys? (Laughs) SUGA: When we got nominated for the Grammy Awards, we thought, ‘Is this real?’ (Laughs) Of course we were delighted, but it didn’t make us think, ‘We're singers nominated for the Grammy.’ If you're nominated, you're nominated, and if you get the award, you get the award. You don't get shaken by that. I know it's a great award and would be so grateful if we receive it, but we know that nothing is possible without the tremendous support of our fans. What’s more important is that the fans are more flattered than us when we receive a great award. So everyone's rejoicing, but it’s like, ‘Let's do what we have to do.’ We've been training ourselves to keep finding our places, so no one remains overexcited.

In ‘Fly To My Room’, there are lyrics that say, ‘This room is too small to contain my dream’, and ‘Sometimes this room becomes an emotional trash can, but it embraces me.’ I had this feeling that the room had been such a place and that you were accepting that you have changed. Then the essence must have remained the same. SUGA: It wasn’t easy to accept that we eventually change. But I think it's a good thing that we changed. What we did back then was possible only at that time, and we could change because of the things we had accomplished.

Then, what new things are you dreaming about? SUGA: I'm eager to continue doing music. Since all performances were canceled due to COVID-19, I had a chance to talk to so many musicians in Korea. I talked with legendary singers as well as people who are my contemporaries. Talking with them once again made me realize that I love music so much. Because music is my profession, I can’t imagine myself not doing it. I'm grateful that there are still unvisited areas in the world of music.

That must explain your interest in a broader spectrum of music from instruments to composing and musical genres. Because you want to be doing this for a long time. SUGA: My goal is to continue doing music in any shape or form. In that sense, I have this great respect toward Cho Yong-pil. He takes the best sound there is and reinterprets it into his own. I think that’s something I want to emulate and keep changing and evolving so that I can continue doing music for decades to come.

The lyrics ‘Thankfully between you and me nothing’s changed’ must sound more meaningful for the fans because they will be listening to your music for a long time. SUGA: A month and a half in the current times must seem like a lifetime for the fans when we're far apart. I feel the same. But I think that's proof that we worked hard for the past seven years and that the fans have been passionately reaching out to us. I'm striving to get to them as fast as I can, and I'm eager to go on stage. I'm going through this because I want to be better on stage in a better condition, so don't be sad, and please hang in there a little longer.

Trans © Weverse

#bangtan #yoongi #weverse #weverse magazine #Be Album #comeback interview #210104 #2021

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passionate-reply · 3 years

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Kraftwerk are best known for being innovative pioneers in the field of electronic music, but by 1981, the rest of the world was finally catching up to them. Faced with living in the future they’d helped create, they released their last truly great album, Computer World, as a sort of reaction to the times. Find out more in my video, or by reading the transcript below the break.

Welcome to Passionate Reply, and welcome to Great Albums. Today, we’re talking about Kraftwerk, and what is perhaps their last truly “great” release: 1981’s Computer World.

Kraftwerk were, of course, one of the first groups to popularize the creation of music through chiefly electronic means. From their icy and robotic onstage demeanour to their stiff-shirted sense of style, just one look at them makes it clear the outsized influence that Kraftwerk have had on the genre we now think of as “electronic music.” While, at times, their significance can be over-emphasized, and I’ve always been critical of the way that the discourse on this all-male quartet has often squeezed out even earlier electronic pioneers like Wendy Carlos and Delia Derbyshire, it isn’t all for no reason. While Kraftwerk’s actual music often comes across as more accessible than experimental, the fact that they were doing it in the 1970s, long before synthesisers became a commonplace sight in popular music, should fill anyone with the sense that they were architects of the future.

Music: “The Model”

While “The Model” first debuted on Kraftwerk’s 1978 LP The Man-Machine, it was re-released as a single in 1981, where it saw substantial success in the charts. In those few short years, the musical landscape had changed, with younger artists like Gary Numan and OMD making headway in the charts with similarly synthesiser-centered songwriting. For almost the entirety of the 1970s, Kraftwerk had been contentedly putting along, secure in the knowledge that they represented the future of music. But now, as the 80s began, they were finally living in the world that they had made possible. The future had arrived for them--so what were they possibly going to do now? I think the best way to frame Computer World, and perhaps what makes it such an interesting album for me, is that it represents a reaction to the ways that the landscape of electronic music had shifted around the artists in these intervening years. On Computer World, Kraftwerk would both reflect as well as critique what younger artists inspired by them had started doing. It’s the first Kraftwerk album that seems to represent a true challenge being posed to these by now august and illustrious pioneers, forcing them to respond in new ways.

Music: “Pocket Calculator”

In many ways, “The Model” is a pop song--compared to most previous Kraftwerk compositions, it’s heavy on lyrics, and focused, surprisingly, on a human being, and a love story involving her. But I think the Computer World single “Pocket Calculator” is almost as good of a pop song as “The Model” is. Highly melodic, and almost candy-coated in its simpering exuberance, it has perhaps the hookiest hook anywhere in the Kraftwerk discography. I’m tempted to compare it to similarly bright and upbeat tracks from Yellow Magic Orchestra, such as “Ongaku”--particularly since it was also released in a Japanese-language version, as “Dentaku,” for that market. Still, there’s no avoiding that the subject matter of “Pocket Calculator” has taken a sharp turn back towards an iconically Kraftwerk subject matter: the inner life of the titular machine. While the narrator of the lyrics announces themself as “the operator” with the titular calculator, it’s also possible to interpret the lyrics as the voice of the machine itself. “I am adding and subtracting, I’m controlling and composing”--but who, indeed, is really performing these tasks: the operator, or the calculator itself? Perhaps a stronger example of Kraftwerk gone pop is “Computer Love.”

Music: “Computer Love”

Melodic, but also balladlike, “Computer Love” is an unambiguous return to the traditional pop theme of romantic love, absent from the asexual and perhaps childlike glee of “Pocket Calculator.” Its more plaintive hook is also an easy one to appreciate, and its theme is perhaps more universal: while listeners at the time may not have necessarily owned rapidly miniaturizing digital technology, surely, all of us have, at some point, felt lonely. “Computer Love” doesn’t just connect to that feeling, but it also offers us hope, in the form of an almost magical, futuristic solution for finding love. I think it’s the internal balance of “Computer Love” that makes me find it so captivating: it’s a song about despair at being alone, perhaps even intensified by the alienation of modern society in particular, but it’s also suffused with the romantic dream of computerized matchmaking services, which might, like so many other technological developments, tremendously improve one’s day-to-day life. In “Computer Love,” the machine is only a tool, a small piece of the overall human picture, and not the chief focus of the work--much as the camera for which “The Model” was posing was little more than a prop in that love story. But despite this optimism about online matchmaking, other tracks on the album seem more skeptical about our computerized future, including the opener and title track.

Music: “Computer World”

While Kraftwerk are best remembered as utopian thinkers, many of their compositions hint at the potential downsides to technological advancements, albeit subtly. Much like *The Man-Machine* alluded to works like Fritz Lang’s Metropolis and Karel Čapek’s R.U.R., the title track of *Computer World* prominently notes organizations like Interpol and Scotland Yard among those who may benefit from computers, hinting at fears of oppressive techno-surveillance expressed by works like Philip K. Dick’s “The Minority Report.” With its slinking rhythm and overall ominous feel, this track implies that we should be apprehensive, without necessarily stating what to fear, and I think that’s part of why it’s remained resonant. In today’s world of deepfakes and location tracking, we’re constantly vigilant over the nameless potential dangers presented by the machines in our pockets and handbags, even when we couldn’t explicitly state what they are. Our increasing distance from the album, in both time and technological progress, may present an obstacle to appreciating it as art. While it’s easy for me to get into the mindset of computers as something newfangled and exciting, having grown up earlier in the personal computer age and able to recall the way they were advertised and talked about in the 90s and 00s, I do wonder how this album sounds to my younger peers. At any rate, “Numbers” is the track that I think sounds the most like it could have been on any Kraftwerk album, and not just this one.

Music: “Numbers”

A classic example of how a simple conceit can fill a whole composition to its brim, “Numbers” remains one of Kraftwerk’s most iconic tracks. Nowadays, it might be best known for how heavily it’s been sampled by later artists, and the influence it’s had on hip-hop, that nephew of electronic music that is nowadays, somewhat arbitrarily, considered a separate genre unto itself. But ultimately, “Numbers” and its famous beat stand up perfectly well on their own. As a cosmopolitan panoply of languages recites the names of the numbers, we are reminded of the ways in which mathematics is a universal language. Not only does it unite mankind, but many have also wondered if it might someday be the key to communicating with people from beyond the stars--an honour also bestowed upon music itself. Structurally, “Numbers” is the second-to-last song on the album’s first side, and like many earlier Kraftwerk albums, it transitions directly into another part of a larger “suite,” connected both musically and thematically. “Numbers” becomes “Computer World 2,” which is not simply a reprise of the title track, but a sort of medley which also incorporates the whispering vocoders of “Numbers.” While in many ways, Computer World feels like an attempt by Kraftwerk to keep up with the times, the overall structure of the album maintains a sense of continuous, symphonic composition, not unlike the seamless “transfer” between “Trans-Europe Express” and “Metal on Metal” some years before.

The cover design of Computer World is another in the long list of the aesthetic triumphs of Kraftwerk, which, I maintain, are perhaps as important and influential as their music itself. Its bright yellows and greens remain eye-catching, as does its portrayal of the band members’ portraits, rendered on a computer terminal. Despite seemingly now only existing in cyberspace, their faces remain in the position we saw them in on The Man-Machine, projecting their beatific gazes towards the leftward horizon of the future. The struggle between the reality of a human being, and that which is affected by their simulacrum, is a strong theme throughout Kraftwerk’s discography, stretching back, at least, to “Showroom Dummies,” and the cover of Computer World seems to take it another step further. Now, we don’t even contend with the idea of physical replicas of humanity, in the form of trudging robots or glib mannequins, but rather with the idea of an ethereal, holographic doppelgaenger. With its title, the album asks us not only to consider computers as technologies in and of themselves, but about an entire new era, and a new way of being, which is brought about by their arrival and proliferation. In many ways, this way of thinking about the future was more correct than perhaps anyone knew at the time, and I think it’s this sense of vision that makes Computer World remain a vital artwork as opposed to a curiosity.

As I said in the beginning, Computer World is often considered to be the last great album Kraftwerk made, putting an end to their streak of classics that began with 1974’s Autobahn. Their follow-up to it was the troubled and controversial Electric Cafe, released in 1986, which attempted, unsuccessfully, to add more dance influences and samples with the textures of more traditional instruments into their sound. While I think Electric Cafe is an album not without its merits, it is certainly a substantial departure from the Kraftwerk sound we’ve gotten familiar with so far. I might characterize it as an album that perhaps went too far into the territory of attempting to keep up with the times, extending Computer World’s lunge for more accessible, lyrical pop further than it could reach. Whatever the motivations, it’s hard to hear Electric Cafe tracks such as “Sex Object” without being at least a bit startled at the group’s willingness to tackle the topic of sex so frankly. It might be the only Kraftwerk song in which being like an object or a machine is portrayed in an unambiguously negative light.

Music: “Sex Object”

I think my favourite track on Computer World is its closing track, “It’s More Fun To Compute.” With a straightforward repetition of the title as its sole lyrical content, and a brazen, strident synth blast propelling it forward, it’s another one of those simple, but utterly compelling tracks that Kraftwerk seem to have been full of. Despite the way it flips into something much more melodic later on, it’s the tumult of the opening bars that really sells me on “It’s More Fun To Compute.” I think the textural qualities are almost a bit reminiscent of the grating oscillations of their often overlooked earlier album, Radio-Activity. That’s everything for today, thanks for listening!

Music: “It’s More Fun To Compute”

#music #great albums #album review #album reviews #kraftwerk

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sugadaily · 3 years

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SUGA has this way of talking passionately with a deadpan look on his face. Full of passion about his life and music. How is your shoulder? SUGA: Good. I think it’ll get even better once I take off this brace. Apparently, it takes several months for a full recovery, but I'm trying to get better as fast as possible. How does it feel like to have resolved a problem that has distressed you for long? SUGA: First of all, I'm glad. The pain is one thing, but when my shoulders got worse, I couldn't even raise my arms. But when I heard that this might recur when getting the surgery at a young age, I waited for the right time and had decided to get it done early next year regardless of the COVID-19 situation. I had planned to get the surgery after the year-end stages, but I got it done this year (2020) because my doctors advised me to start preparing early for next year’s promotions and activities. How does it feel like watching the other members doing promotions? SUGA: I can't say it feels great. I could see the emptiness because we've been together as a group of seven for so long. Not necessarily because I'm not there but because something that should be there is missing? Is that what made you join the promotion as much as possible? You shot lots of video footage in advance and you even appeared in the Mnet “2020 MAMA” through VR. SUGA: Fake SUGA (Laughs). There’s this 3D studio where we shot it. I shot, scanned, and acted there, but couldn't see the actual result at the studio. I thought a sense of displacement was unavoidable, and that was exactly the case. (Laughs) I acted normal because it would have been aired anyway even if I hadn’t had the surgery, but it seems a lot because it’s aired after the surgery. You must feel restricted not being able to go on stage. SUGA: The thing is, it's only been a month after I got surgery, but my absence on stage is so apparent. But my doctors keep telling me that I shouldn't be impatient and in fact, many athletes get a resurgery when they return to the field without proper rehabilitation. So I'm working on trying to care less. For the first two weeks after surgery, I felt so frustrated that I tried out new things. I even watched movies I didn't watch.

What movies did you watch? SUGA: I watched ‘Samjin Company English Class’ as it happened to be on IPTV, and now I have ‘Tenet’ on my list. ‘Parasite’ was the last movie I saw at a cinema. As the social distancing measures became stricter, I haven’t been going outside, except going to the hospital. I even eat at home. I'm also watching a lot of TV nowadays. Watching music shows like ‘Sing Again’, ‘Folk Us’, and ‘Show Me The Money 9’ made me think of what I should do in the upcoming days. Could you elaborate on that? SUGA: A lot of candidates on ‘Sing Again’ are very talented but hadn't had the opportunity, and on ‘Folk Us’, I noticed that many took their own guitars on stage. I started playing the guitar lately and I'm having this urge to broaden my scope of music. And since my interest in the music industry in the U.S. grew, I'm getting prepared, studying English and all. What fueled your interest? SUGA: In some ways it’s the most commercially developed market. You could lose the industry attention in a flash if it's not feasible. So in this system, you would try everything and that would be an efficient way. I want to do music for a long time, and to this end, I always want to learn more about the global music industry because I want to do music that’s loved not only in Korea, but also in the U.S., Japan and Europe. Speaking of which, it seems BE was influenced from music of the past rather than today's trends. SUGA: I especially like impromptu music. I love the songs that were made in one take instead of being recorded several times. In this era of crossover genres, the desire to do better in music is growing inside me. As the genres become more blended, the melody you use must be more important. Does starting to play the guitar affect your composing in any way? SUGA: I always liked using guitar sounds. And I have always liked the Eagles. If you play the guitar, it’s way easier to write songs because you can carry it along wherever you go, pluck on the strings to create melody lines. Keyboards are difficult to carry around. (Laughs) I usually work on my laptop but I had this thought that I definitely needed an instrument. It accelerates my work and improves my understanding of chords. It makes me think you could intuitively make melodies. SUGA: It’s easier to write a song because you can intuitively make a progression and try many different things. During my work on ‘Eight’, IU had recorded and sent me a song from her phone. At the time I couldn’t play the guitar, so we tried to make sure we’re working on the same page when keeping track of each other's progress. That made me feel the need to learn an instrument.

This is actually before you started playing the guitar, but I found ‘Telepathy’ in BE very interesting. The varying melodic progressions between hooks for each member made me wonder if you wrote the melody intuitively for each part. SUGA: I tried a melody for the first time this year (2020), and as I started knowing the fun of music, it opened a lot of new doors for me. So it was kind of easy working on it. I just played a beat and wrote from the beginning until the end. Done. I wrote it in just 30 minutes. The song almost wrote itself. The trends of pop and hip-hop these days cross boundaries between vocals and rap. I like this trend. When I listen to your singing, it feels like you’re hitting the beats rather than singing along the notes. So I thought perhaps you're singing as if you're rapping. SUGA: When you're rapping, you just think of the rhythm, so it’s like simply putting on a melody to a rhythm. To define which comes first, I think melody adds to it while writing the rap. In ‘Life Goes On’, the lyrics ‘Thankfully between you and me, nothing’s changed’ are somewhere in between. It's not rap but it’d be mundane to say it's a mere melody. SUGA: There are obviously songs where the rap needs to be highlighted. For example, in ‘Dis-ease’ or ‘Ugh!’, you have to be good at rap. But in songs that should be easy to listen to, impressive raps are not always the way to go. Sometimes, you want smooth transitions without obstacles. In that sense, the rap flow of ‘Blue & Grey’ was impressive. Rather than a dramatic effect that emphasizes each part, you extended the rap just as much as the slowing beat. SUGA: To be honest, this beat is difficult to rap to. The beginning of the song only has a guitar line, which made it even more difficult. I participated when we wrote lyrics for ‘Blue & Grey’ and I've always wanted to work on a song like this. It was because verse 1 talks about the theme of the song.

It seems you achieved almost everything that you wanted in BE. SUGA: I think it took less than a week to make my part in the album. After having written one or two melodies for ‘Life Goes On’, I wrote a version complete with rap, and liked it that I even worked on a separate arrangement and lyrics. Rather than pondering over the ways that might work, I choose to simply play the music and write. Many creators are unsure even after they’ve produced good work. How do you get the conviction to release your work? SUGA: Many musicians are unsure whether they should release their music or not. It was the same for me, but the thing is, you’ll never release anything if you nitpick everything. For example, if we release 10 songs, we have a chance to unveil them in concerts or fan events. And sometimes, as we listen to the song, we think, ‘Why does this part that had bothered me no longer bother me?’ Some things might feel awkward at some point, but in time, it no longer feels awkward. Even I forget about it. So it's more efficient to fine tune, looking at the big picture, rather than thinking too much about the details. On top of that, during promotions, I don’t have the time to pick tracks that others have sent for 10 hours. It would be a success for all of us if each of us play and write a melody in their own time and collaborate with others on the details. So the way of songwriting has evolved in many aspects. What motivated such evolution? SUGA: I think it evolved naturally. I've changed in personality this year (2020), as well as in terms of my interpretation and attitude toward life to the extent that I almost thought I've been rehearsing. How would it feel like if there were no stage to go to or anyone looking out for me? This thought made me realize the value of these things. In ‘Dis-ease’, you sing ‘I don’t know if it’s the world that's sick’. Was it this lifestyle that changed your thoughts about your work? SUGA: Yes. When I was young, I had embraced the belief that ‘It must be my fault’, but as I got older, I realized that this is not always true. Most of what I had thought was my fault was in fact, not my fault. On the other hand, there are things that I did well and times I had been lucky. ‘I NEED U’ came out during a time when you were still thinking, “It must be me”. After the members put on a stage with ‘I NEED U’ in KBS' ‘Song Festival’, you wrote on Weverse, “It’s the same as five years ago.” How would you compare with back then? (This interview was held on December 19, 2020.) SUGA: We've matured quite a bit. And our stage performances have become more natural. I still like ‘I NEED U’. Just listening to the beat makes me sentimental, and above all, the song came out nicely. So as I was watching this and that when I stumbled across old videos. Watching them made me think that we haven’t changed much.

In what aspect haven't you changed much? SUGA: Before the social distancing measures got stricter, I talked with the photographer for BE, whom I had met four years ago. The photographer was surprised that we hadn’t changed much after all the success, even though he had assumed we’d be very different. I'm amazed personally. I’ve had the chance to meet the members before your debut, but from your way of talking with members or others, it seems you haven't changed. SUGA: I think it's because we don’t give it a big deal about success. For example, it's incredible to be ranked first on the Billboards, but there’s also this sense of, “Okay, and?” Even the Grammys? (Laughs) SUGA: When we got nominated for the Grammy Awards, we thought, ‘Is this real?’ (Laughs) Of course we were delighted, but it didn’t make us think, ‘We're singers nominated for the Grammy.’ If you're nominated, you're nominated, and if you get the award, you get the award. You don't get shaken by that. I know it's a great award and would be so grateful if we receive it, but we know that nothing is possible without the tremendous support of our fans. What’s more important is that the fans are more flattered than us when we receive a great award. So everyone's rejoicing, but it’s like, ‘Let's do what we have to do.’ We've been training ourselves to keep finding our places, so no one remains overexcited. In ‘Fly To My Room’, there are lyrics that say, ‘This room is too small to contain my dream’, and ‘Sometimes this room becomes an emotional trash can, but it embraces me.’ I had this feeling that the room had been such a place and that you were accepting that you have changed. Then the essence must have remained the same. SUGA: It wasn’t easy to accept that we eventually change. But I think it's a good thing that we changed. What we did back then was possible only at that time, and we could change because of the things we had accomplished. Then, what new things are you dreaming about? SUGA: I'm eager to continue doing music. Since all performances were canceled due to COVID-19, I had a chance to talk to so many musicians in Korea. I talked with legendary singers as well as people who are my contemporaries. Talking with them once again made me realize that I love music so much. Because music is my profession, I can’t imagine myself not doing it. I'm grateful that there are still unvisited areas in the world of music.

What kind of music do you think you’ll be engaged in in the future? SUGA: I was greatly motivated when I saw the concert of Na Hoon-a last Chuseok . I wondered how many musicians would actually be able perform and write music for so long like he has. At that moment, it occurred to be that ‘I want to be like him’. He has passion and desire, and most of all, he is a superstar. A few years ago, I took my parents to a Na Hoon-a concert, and when they watched the performance last Chuseok, they said it was way less impressive to see him perform through the TV. (Laughs) That must explain your interest in a broader spectrum of music from instruments to composing and musical genres. Because you want to be doing this for a long time. SUGA: My goal is to continue doing music in any shape or form. In that sense, I have this great respect toward Cho Yong-pil. He takes the best sound there is and reinterprets it into his own. I think that’s something I want to emulate and keep changing and evolving so that I can continue doing music for decades to come. The lyrics ‘Thankfully between you and me nothing’s changed’ must sound more meaningful for the fans because they will be listening to your music for a long time. SUGA: A month and a half in the current times must seem like a lifetime for the fans when we're far apart. I feel the same. But I think that's proof that we worked hard for the past seven years and that the fans have been passionately reaching out to us. I'm striving to get to them as fast as I can, and I'm eager to go on stage. I'm going through this because I want to be better on stage in a better condition, so don't be sad, and please hang in there a little longer.

#yoongi #suga #bangtan #bts #interview #210104

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fyeah-bangtan7 · 3 years

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SUGA “I'm grateful that there are still unvisited areas in the world of music”

SUGA has this way of talking passionately with a deadpan look on his face. Full of passion about his life and music.

How does it feel like watching the other members doing promotions? SUGA: I can't say it feels great. I could see the emptiness because we've been together as a group of seven for so long. Not necessarily because I'm not there but because something that should be there is missing? Is that what made you join the promotion as much as possible? You shot lots of video footage in advance and you even appeared in the Mnet “2020 MAMA” through VR. SUGA: Fake SUGA (Laughs). There’s this 3D studio where we shot it. I shot, scanned, and acted there, but couldn't see the actual result at the studio. I thought a sense of displacement was unavoidable, and that was exactly the case. (Laughs) I acted normal because it would have been aired anyway even if I hadn’t had the surgery, but it seems a lot because it’s aired after the surgery.

#bangtan #suga #m:weverse magazine #o:interview #210104

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scumfuckus · 4 years

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ok so the original hurt by nine inch nails and the cover by johnny cash should never be compared in terms of ‘which is better?’ because they are 2 entirely different songs. like both musically and thematically

so, the context for each version. trent was 29, at probably the beginning of the peak of his career. he was an angry young(ish) man with substance abuse issues and a lot of hurt and rage. i feel like this is reflected in pretty much every track on the downward spiral, and hurt is no exception. in this context, the lyrics of the song (which are supposed to be to do w a character and story arc as this is a concept album, but i feel like said ‘character’ is basically just something trent is projecting onto) seem to be self-loathing. they project this sense of disgust at the self. they’re also something of a warning - “you can have it all, my empire of dirt” = i have nothing good to offer, “i will let you down, i will make you hurt” = don’t let me in, it won’t end well

contrast this with the context for johnny cash’s cover. he released the cover and music video 7 months before his death. even in the video he looks frail. he was nearing the end of a long life and a long successful career. he’d become a legend in music. and of course he knew how old he was getting and there’s this sense of jaded wisdom in his cover. this is a man looking back on his life, and coming to terms with his regrets. in this context, the line “you can have it all, my empire of dirt” could be taken in a more literal sense - when i pass, you can have everything i leave behind, but that includes the burdens i’ve had to live with. and we know that cash was reflecting on his past regrets - in the video we see a glimpse of a photo of him with his ex-wife vivian, whom he was with at the height of his own issues with addiction. i also interpret “i will let you down, i will make you hurt” as being to do with his passing - someone this old and this renowned might be considering how his passing will affect his loved ones (and fans)

i think these differences are stark musically as well. the NIN version evokes that feeling of self-loathing/disgust with building noise, discordant notes, pounding drums. i mean personally i find it comforting to listen to but it’s not supposed to be a pleasant sound

whereas cash’s version is more traditional chords, guitar and piano. throughout he sings melodically, his voice is calm and beautiful to listen to. it becomes more of a ballad. there’s none of that sense of disgust, it’s just melancholic.

another difference is the line, in the NIN original “i wear this crown of shit, upon my liar’s chair” - hearing the song performed live, i found that trent particularly likes to enunciate that ‘shit’ lmao whereas cash changes “crown of shit” to “crown of thorns” to me, “crown of shit” further works to evoke this feeling of disgust and deprecation of the self. whereas “crown of thorns” is very biblical, it evokes ideas of martyrdom, and in being biblical (and we know johnny cash had a firm belief in christianity) it evokes this idea of the song being confessional, looking for forgiveness for sin

the last thing i wanna talk about is the cadence of each version. this is, the notes that the song ends on. now, i don’t know music theory or sheet music or anything like that - i don’t actually know the note each version ends on. if you’re curious about this comparison i suggest skipping to the end of each version and listening to one after the other. but in cash’s version the “i will find, a way” to me, sounds very final. almost as if cash has reached this stage of acceptance. that the past is the past and he can’t right his wrongs but he can forgive himself

however, the nine inch nails version - the “i will keep myself, i will find a way” ends on this sort of... uncertain cadence? i don’t really know how else to describe it. like i said listen to it lmao. but it’s this long note and it doesn’t sound fully finished. almost ending on a sort of cliffhanger you could say. and this to me is to do with trent having a whole life ahead of him - in this sense it almost is possible for him to “start again” and right his wrongs. and i’ve always thought of this version... for a song that’s supposed to be so awfully bleak and sad, it feels to me like it has such a hopeful ending. and that’s why the end is my favourite part of the entire song - and if you get the privilege of hearing it performed live, that ending is even better in concert. even more hopeful

anyway if you’ve actually read this whole post i love you

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uwunnie · 5 years

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Update + Week 1 recap (Nov.7, 8:21 PM US Mountain Time)

Today marked the final day of the first week since this whole ordeal began. Truthfully, it feels like we somehow transported to the Dramarama video because time seemed to stop, but alas, here we are.

For the recap, I’m not going to put specific dates, but for today’s update, I will title it as such. You’ll see - this should be a pretty easy format to follow (tiki-taka),

For the sake of everyone’s timelines, the recap and update begin after this read more.

When news broke out regarding a Wonho’s sudden departure on October 31 (US and the like time-zones), may have been November 1 for other zones, there really weren’t that many updates in the way of efforts to bring him back. That day was full of shock, so everyone was more angry and depressed - even more so compared to now.

But after a day or two, Monbebes managed to channel their emotions into a bigger cause: Bringing Wonho home, and bringing him home we will.

Let’s recap:

Twitter Monbebes, Carter and Kei, organized the GoFundMe to raise $10,000 USD to purchase an ad in NY Times Square.

Within 45 minutes of initial service, the goal had been met.

After a couple days, the donations kept piling in and finally, as of November 3 - the GoFundMe closed at $25,102 USD ($15,102 USD over the original goal).

The ad’s payment was successful and the ad went up! However, my understanding is that the ad’s run-time ends in a few hours.

Ad’s location: New York, 42nd St. and 7th Ave., facing east.

Photos of the ad:

Reads: We shine brighter as a family, then proceeds to list each name of OT7 along with their logo and a photo of OT7 together with MONBEBE on the photo.

The board kicked off on November 6 and ran 30 times per hour for 15 seconds all day except 2-5 AM.

A petition calling to keep Wonho a member of Monsta X was published. Within a week, the petition is still going pretty strong with over 400k signatures. The goal is 500k, so I predict it will reach its goal within the next week.

The petition can be found here.

In addition, more projects/campaigns have been released since then and can be found in this master-post here.

Since this day, however, more projects have been revealed, so once I compile all of them, I’ll add them to the previous link.

Let’s remember:

K-MBB left sticky notes on Starship Ent.’s building. Eventually, within a few hours, a staff member was photographed collecting them.

News outlets began reporting about Monbebe efforts to bring Wonho back, thus bringing more attention to our goal.

Celebrities reached out and showed their support of Monsta X.

Monbebes began writing everyone to spread awareness - spanning as far as contacting Moon Jae-in, South Korea’s president.

Naver (shockingly) released a positive article - something that’s very rare.

Efforts are still being made to spread more awareness through physical ads in South Korea.

K-MBB’s held a silent protest outside of Starship Ent.

International fans flew to South Korea to participate.

Staff said they can and will welcome Wonho back.

Staff also helped Monbebes greatly:

Met with MBB’s on the day of the silent protest to help them cut out banners.

These plaques read, “I do not want to remain just a memory,” which are lyrics from If Only.

Supported MBB’s in the fan cafe - even went as far as changing their icons, I believe, to photos of Wonho.

Continued collecting MBB sticky notes and even provided tissues at the protests for those who were crying.

Continue encouraging us to continue with our efforts.

Other fandoms have showed their support for Monsta X and MBB.

International MBB are still organizing a silent protest from what I’ve seen circulating the web.

For Minhyuk’s birthday, MBB adopted four whales as gifts. One is a southern humpback named Monbebe, another a blue whale adopted in Minhyuk’s name. I’ve heard another one was named Monsta X, but don’t quote me on it because I’m not 100% sure.

Minhyuk’s birthday tag also reached #1 worldwide trend.

A set of stars were also purchased and named Lee Hoseok and Monsta X.

NY-MBB got a dance group to dance to Follow.

UK-MBB are hosting fundraisers in efforts to raise money for a central London billboard.

As I stated prior, all sorts of ad efforts were, and still are being, made.

Over 30 tags have consecutively trended worldwide for one week - many of them reaching -#1 trend several times.

K-MBB’s used the original fan chant during one of the performances for Follow’s promotions. If you don’t know what I’m referring to, it means that they used the OT7 chant including Wonho’s name.

300 fans were allowed into the Inkigayo recording - 100 over its normal capacity.

Tower Records, international music franchise store, showed their support in their Japan branch’s sector through MX signs and posters.

MX reminders:

Wonho is still active on the fan cafe.

Majority of the members have been active on the fan cafe.

Minhyuk posted this for his birthday:

Changkyun posted this two days ago:

Wonho is still on Starship’s official site.

This photo was posted a day or two ago:

For those that may not understand, the white ink is circling Wonho’s signature and name on the wristband. Some people claimed it doesn’t matter because those bands are pre-made, but to that I’d like to point out that those bands are made out of paper and his name is printed/signed on the end, so it would have been very easy for staff to cut off the end part if they really wanted to, or were instructed to do so.

This was circulating the web:

Speculations:

Nov. 7: Shownu wore Wonho’s shirt.

Nov. 7: Kihyun wore Wonho’s earrings.

Nov. 7: Hyungwon wore Wonho’s chain.

Nov. 7: Changkyun wore Wonho’s, or a similar, earpiece.

Nov. 7: Our boys left a space for Wonho at the end of their performance. Take a look here and see what you think.

Nov. 2: MX left a space for Wonho during Follow and Find You.

Nov. 2: Jooheon’s lyrical slip-up could have been in protest of what’s occurring.

In regards to this speculation, he did this recently again as well, so my interpretation is that it’s probably related to the protest as well as exhaustion.

Starship info and overall legal matters:

As far as my knowledge extends, this is the ONLY official statement SS has released:

The explanation/speculation of this letter can be found here.

SS is involved in their own, personal, controversy. I’ve made past posts regarding the situation, but for the sake of not stirring the pot, so-to-speak, I’m going to exclude them from this particular post. Until further information about their situation is released, or I feel it’s becoming a detriment to MX, I will bite my tongue.

In regards to 🐻’s controversy, SS confirmed the photos were manipulated (fake).

🐻’s searches have been cleared, at least from my knowledge. I’ve been told that they have been, but I’m not entirely sure if they’ve come back or anything.

I know a lot of people messaged me that particular night in regards to a YouTube video talking about 🐻’s situation and everyone was concerned it would spark up the searches again. I didn’t want to say anything until I saw the video taken down, but I messaged KJ and explained the situation to him. He had no ill intent with his video - in fact, he was trying to help clear the negative rumors revolving around MX. He was just simply unaware that, unfortunately, any publicity regarding 🐻’s situation would trigger the searches again, so I explained this to him and told him about MBB efforts. He completely understood and removed the video.

Updates from November 7:

MX received their 2nd win!

The video and post involving Hyungwon’s speech can be found here. HIGHLY recommend watching it.

GOT7 congratulated and hugged each member, and E-Dawn congratulated Changkyun.

Only 10 Monbebes were allowed inside for the performance, so Ahgases (GOT7’s fan club) held up Monsta X light sticks during our boys’ performance in place for the MBB not allowed in. Ahgase also helped MBB with the live voting.

In other words: Ahgase and Monbebe are each other’s sweethearts. 💚🤧💜

Jooheon told MBB not to cry.

They held a fan-sign to which:

Wonho’s photo was projected on the screen behind them. A link to the photo can be found here.

K-MBB informed MX of the Times Square ad.

Changkyun stayed this is the last week of promotions.

Kihyun said he will do a cover of Believer.

I think Shownu earned his PhD? Or is going to?

Jooheon confirmed the release of the studio version of Sambakja, or he said he might. I’ve seen people talking about both, so I can guarantee 100%, but Jooheon, if you’re reading this - please.

Trends continue meaning we’ve successfully trended for one week straight.

Eshy:

Voting for MAMA has been open and Monsta X is a nominee in all except a couple categories.

There’s two ways to vote:

Voting for them in specific categories on the website, here.

Voting on Twitter as well by utilizing:

#MAMAVOTE #monstax

Current twitter tags to trend as well:

#LoveUWonho

#우리_항상_네_곁에_있을게요

@/OfficialMonstaX

@/STARSHIPent

Overall reminders:

Do not engage in fan wars.

Do not engage in any hate towards the duo. I’ve said this in the past and it’s practically been confirmed: They’re trying to gather sympathy through the situation they’ve caused by trying to play victim. Popular sites are posting articles painting them in positive undertones and netizens are starting to support them because of the hate they’re getting on their social platforms and what not. Those comments can also be collected and utilized in the ongoing legal case, so please, do NOT engage with them. Instead, channel your energy into MAMA voting, campaigns/projects, trends, and other positive things that will bring Wonho home to us.

Messages to MX, project created by @wonderlanddragon, ends Nov.8/9. The posted regarding the details can be found in the campaign link above!

Bunnies for Wonho, created by @thoughtsfromaclutteredbrain, has been ongoing now. They’ve also planned a new project for a video, so please send in your favorite Wonho moment along with your name and/or nickname to them!

@stay-dont-strayy creates an International MBB project. You can find the info on their blog!

Kpop group chats have been created, links here.

@sezy001234 has also created five tumblr kpop group chats, so hit her up for details on everything!

I’ve also made a kpop tumblr group chat, so if you’d like to be added, send in an ask or message!

The source to find the bunny 7-1=0 profile pictures can be found here in seven different colors.

You can leave letters/sweet messages to the boys on the fan cafe. Please be mindful of the situations at hand when doing so and also, give a little extra love to our baby, Changkyun. MBB at the fan-sign have mentioned that he seems to be struggling the most and tbh, it’s been very visible in his performances and photos.

All seven are trying to be strong for us, so let’s try our best to be strong for them. ❤️

We’ve made it through the first week, babes.

We can do it time and time again.

I love you all. ❤️🤧

Let’s bring our bunny home. ❤️🐰

(Posting: Nov. 8, 3:05 AM US Mountain Time // yes, it took me this long to make lol)

#monsta x #wonho #shownu #kihyun #hyungwon #minhyuk #jooheon #changkyun #im #joohoney #updates #first week #monbebe

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twinkledadwa · 3 years

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Home is Where (a ghost nest #1)

november 7th, 4:47 am pst.

in all sincerity;

this interview was birthed from the innate fear of death. for what it is to ‘be a ghost’, beyond having the ability to slam doors after your passing, isn’t truly defined. a trait consistent throughout the many interpretations of angels, spirits, paranormal and such is the presence felt being an essence lost in time. ‘who’ a person is stops at their death. all human aspects stripped, ghosts work as an echo of a fading past; something more akin to a message in a bottle than an entity still living.

so, in our lives, do we strive to create essences that continue to build after our deaths? or do we attempt to capture our essences well enough at the moment to make our ghosts stronger? the latter has been adopted for ‘a ghost nest’. i hope, for everybody’s sake, that it isn't explained again. context felt necessary to clear up why these interviews are in a hybrid, ‘Dear Sally’-esque format. what this should be considered, at most, is an exercise in essence on a minuscule scale.

and on november 7th, at approximately 5:10 am pst, brandon macdonald expressed a similar sentiment. ‘tantrum provider’ for Palm Coast-based emo band Home is Where, they noted the name’s function as a subliminal advertisement; so that whenever the proverb it takes from is used, listeners at any moment in time will harken back to sound bleeding with vibrancy. ‘the scientific classification of stingrays’ (topical cover art) carries an urgency somehow familiar, symptomatic of the band stretching their foundations into their own monument. for ninety minutes, unknowingly breaths away from a new president-elect, we had a conversation.

this is Home is Where’s ghost nest.

youtube

So, how long is too long for us not to have a presidential assassination?

Brandon: Um, that’s a good question. I was on a local podcast recently and, funny enough, I didn’t know going into it that they’re sponsored by a financial magazine? I lost my shit finding that out. I was laughing my ass off. I was like, “your financial magazine, right now, is supporting an artist who is a dedicated Marxist. A communist who sees these people on the street and knows that I represent exactly what they’re against”. The song isn’t meant to be about an actual assassination or about Orange Man himself. I wanted it to be a comment on the structure itself, you know, how long living within it does it take before everything builds up and we eventually bite the hand that feeds us?

Protest music that names specific presidents does not age well. Look at 80s punk, besides Dead Kennedys, mentioning Reagan. You know, what was the name of that compilation against Bush? The intention was to write a protest song that lasts longer than a presidency. Also, it was easier from a lyric-writing perspective, although there are plenty of words that rhyme with Trump. I don’t know about McConnell [laughs].

Videos of ‘stingrays’ live date back to January. Was all the material off the next record written pre-quarantine?

All of it. We were sitting on this material for a while, and we went into the studio in early April. We wanted to pump something out before, you know, the end of the world happened. So we got those done, it was mastered around May, and now we are waiting for a few more parts to be sent in. That’s no worries, it’s been a difficult time for all of us. The original plan wasn’t even to drop a single for ‘i became birds’. 2021 was coming up and we hadn’t released anything this year, so ‘stingrays’ felt like the most direct and obvious choice.

In the world, how do you see both your personal presence & Home is Where’s presence?

You know, I don’t leave the house much. If I do, I wear a mask. I go to work. I spend time with my cat. I hang out with my girlfriend when I can, as we’re pretty much on opposite schedules. The band hasn’t been up to much. We haven’t met since May and we’ve all faced changes in our individual lives, but at some point, when or if the chaos comes to an end, we’ll be playing together again. In terms of Home is Where? We’re an emo band from Florida. There’s plenty of those. This might be a pretty trash take, but a lot of the bands in the scene comment on liberalism, and you can only gain so much by listening to it. You should spend your time reading theory, doing something actually important, so you’d be able to make a change in the world. So, in the grand scheme of things, Home is Where is not important. However, it is something I love and am fortunate enough to do.

Dear Brandon, of Home is Where. I’m having trouble finding my own space when stuck home with my family. What should I do?

Charley, in Pennsylvania.

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Brandon: Is this referring to COVID?

I’m pretty sure it is.

. Okay, I think I have an answer for this.

In terms of finding your own space, just find something you’re passionate about and, fucking, dive headfirst into it. A few years back, around the time we started to get serious with the band, I was in a position where I didn’t have a job but I had enough saved up so that it was a few months until I had to worry about rent. With all the time I had, I wanted to buckle down and get really into something I wanted to learn everything about emo. You know, I knew Rites of Spring were the ones who started the genre and some of the stuff about the 90s, but I wanted to know all of it. There were 2000 emo albums that I downloaded and I listened through all of them. Everyone inspired me. Not all of them were good, no. Some were bad, but by listening to them, I knew exactly what I didn’t want to do. It helped clarify what I wanted Home is Where to sound like.

Find something you’re passionate about. You know, reading theory, making art, do something that makes at home in your home. You can do so many great things.

Do you have any song recommendations for this situation?

I have two! The first is, well, you can never go wrong with Cap’n Jazz. Pioneers, truly some of the greats. Tim Kinsella is a genius; I do my best to take what I can from him. It’s him and Bob Dylan. The song is We Are Scientists! (by Cap’n Jazz). I believe some of the lyrics do touch upon that feeling of being stuck around other people. Like, “starchy product scripted people I never asked to care about”? “you can’t look at the sky without looking right through it”? Those lines are, mwah, chef’s kiss!

The second is H.S. by Plunger. Let me pull up the lyrics to this. It’s another one that comments directly on feeling isolated from those around you. Here it is; “All these old faces/Smiling and laughing/But you’ll never leave fourteen”. Yeah, that seems to sum up the emotion this person expressed.

Dear Brandon, of Home is Where. Things recently ended with a person I had been seeing. I hurt them, didn’t communicate my feelings properly, and I feel like garbage for it. I leave the continent for 5 months in a few weeks, and I want to reach out before I leave, but also I want to give her space? Should I wait and see if she reaches out? I’m a dumb stupid idiot. Dumb stupid idiot, in Maine.

------------------------------------------------

‘Dumb stupid idiot’ [laughs]. That truly is an emo question. I am sorry to hear that you’re going through that. That sucks, man. Heartbreak sucks. I wish you the best in leaving the country during COVID times, seeing as that might be difficult, and hopefully, it opens your eyes to new things.

My one piece of advice is to give it time. I know a few years seems like a lot of time, but it really isn’t. There are moments where I, too, indulge in being derogatory towards myself. Home is Where has lyrics about feeling alienated, being hard on yourself. A few years ago, I moved back to the town I grew up in, and even though it was considered ‘home’, I didn’t feel that. It was tough. Eventually, over time, everything came together. You just gotta wait and look back when you’re in a better headspace,

You’re going overseas, you have so many new experiences ahead of you. Who knows, maybe you two will end up working out, we’ll see. You got this. I’m rooting for ya.

Do you have any song recommendations?

I came up with three, actually. One isn’t emo or anything close to adjacent, so I added another to compensate.

I Love You Too by Rainer Maria is the first one. It’s hard to find emo that deals straight up with a break-up, there isn’t much out there, but Rainer Maria stuck out. This song is killer. That entire EP is killer. One of the best emo bands ever.

Idiot Wind by Bob Dylan is my second recommendation. Which is not emo, but in terms of break-up songs, it doesn’t get much better than this. Blood on the Tracks is fucking brutal; Dylan puts blame on pretty much everything.

The other emo song is from, I want to say, around 2000 or 2001? Near the end of that 90s, ‘second wave’ emo, whatever it is considered. The song is For Meg by On the Might of Princes. It’s about Meg Griffin from Family Guy. No, it’s not. Actually, I am not sure, but this track has just about everything; it’s lo-fi, has some screams, and the lyrics seem to discuss a heartbreak;

”This is for you. to hold you close, to keep you Close to my heart. I'll scream it til your ears bleed You'll always have a friend in me”

Great, great emo that gets heavy. They’re the only emo band that Brave Little Abacus cited as an influence on their sound. You should definitely check them out.

Home is Where’s visual ghost nest (collages & mixtape visualizer) consists of: Modern Times//Halloween: Resurrection (”Busta Rhymes beating the shit out of Michael Myers is a 10/10 for me”)//Blood Diner//Simpsons: Hit & Run//City Lights//Woody Guthrie: Hard Travelin’//The Horror of Party Beach//Peanuts//Zippy the Pinhead//Fritz the Cat//The Enfield Haunting//Twin Peaks//Wayne’s World 2//Synecdoche, New York//Japanese Woodblock Prints

Home is Where can be found on twitter, facebook, and bandcamp. ‘i became birds’ out 2021 on Knifepunch Records.

their ghost nest is on spotify. questions for future ‘episodes’ can be asked under the advice tab.

this now exists. bless to brandon, Home is Where, and you all.

#what would be a good hashtag #interview #Home is Where #diy #emo #college #ghosts #ghost nest #florida is in stage 4. isn't that concerning?#bob dylan #tacoma

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funknrolll · 4 years

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Celebrating Prince: discovering a timeless artist and his meaningful and impactful art. Part 3. The legal battle against Warner Bros, The Gold Experience and Emancipation eras.

Hi music lovers, as I anticipated on monday, music addiction is going to celebrate Prince and his amazing and timeless work!! The article will be split into a few little articles. I hope you enjoy this new format and these articles!!

For some reasons I had to repost this article therefore the 4th part will be uploaded tomorrow✨ stay tuned for more✨

As I said yesterday, let me say that I have heard so many things about Prince’s artistry. Some comments came from uneducated people who did not even take a second of their lives to understand, and do research on his art. Hence, I think the time to shed some light on Prince’s art, has come (finally). I hope to help some of those people understand this artist better and to finally appreciate him the way he deserves. We owe Prince big time. Today’s music and musicians owe Prince everything. Without him, many of the artists we listen to today, WOULD NOT BE EXISTING. As we all know, Prince loved to experiment with music, trying out new music genres, new styles, new harmonies, melodies, rhythms and so on. This is one of the factors that led this legend to create a unique, wide and broad vault. There are so many songs of his that I love so much and that I find relevant for this article. The ones I chose, are going to prove that Prince and his music did not just revolve around sex and sexuality, (even if the artist through his music took the topic to another whole level). Through the article, we will see that Prince was more than all that I mentioned above. He was an extraordinary human being, blessed with so many enormous talents, with a beautiful mind, a uniquely pure soul. A true gift of God. With this in mind, let us start this article.

This is the sequel of the 2 articles I posted yesterday, so in case you guys missed them, check the previous 2 out.

Before I continue with this article, it is important to mention the Prince’s fight against Warner Bros. I know this was a matter so close to his heart and he cared about that. Hence, I think there is the impellent need to explain the situation to spread awareness and to remind the huge efforts Prince made beside his beautiful music. Back in the 90s, the artist’s music was owned by the aforementioned record company, although Prince was the person who composed, wrote, and performed HIS music. The artist was extremely aware of the importance of owning his masters and therefore his music wanted to buy back the rights to his music from Warner Bros, but the company denied that. Therefore, the artist would have had to re-record his music, the same music HE composed, HE wrote and performed. Indeed, as Prince stated in a 1999, Paper interview, “I wanted to buy my masters back from Warner Bros. They said no way. So I'm going to re-record them. All of them. Now you will have two catalogs with pretty much exactly the same music—except mine will be better—and you can either give your money to WB, the big company, or to NPG. You choose.". During this long legal battle, the artist decided to leave Warner Bros and created his own record label The NPG Records. Besides all of that, Prince, during the legal fight with Warner Bros, changed his name into an unpronounceable symbol and started to write the word slave on his face to symbolize the condition of slavery under which many artists had to stay. This battle lasted for about 4 decades. With this Prince was fighting for his artistic freedom, ownership of his work, and his rights. In addition to that, Not only was this huge artist fighting for himself, but also for all the other artists exploited by record companies. The artist formerly known as Prince was not to be silenced. Indeed, many of the works he crafted during the 90s, were an act of protest against record companies. It is extremely important to remind people how this artist gave his contribution and paved the path for other artists to be free and be more aware of this ENORMOUSLY important issue. I briefly summarized and addressed this HUGELY RELEVANT issue, but there would be more to say, and I will write an article about that. I will never stress enough the importance of Prince’s battle against record companies and his music being robbed from him. He has made a big impact and we all should be thankful and grateful to him for being bold enough to speak up about the topic and address this issue.

Moving back to his music, in 1993 Prince ended the partnership with Warner Bros and started his own record label the NPG Records. Needless to say, as soon as the artist started his label, he began working on his new project, The Gold Experience, that eventually was released in 1995. This timeless gem is the product of Prince’s deep and broad artistic evolution. On this masterpiece, there are 3 songs that I find extremely relevant which are: We March, The Most Beautiful Girl in the world, Billy Jack Bitch, and Gold. Through its forthright and explicit lyrics, We March is a powerful protest song where the artist speaks up against racism, misogyny, and prejudice.

If this is the same avenue my ancestors fought 2 liberate

How come I can't buy a piece of it even if my credit's straight?

If all the water's dirty and I wanna lay the pipe, my dammy

The river that I drink from, will it be the same as your mammy

In these lines, the artist is raising his voice against the prejudice of moneylenders.

If this is the same sister that U cannot stop calling a bitch (Bitch)

If U can't find a better reason 2 call this woman otherwise

Then don't cry, U made the bed in which U lie

These lines are a protest against misogyny, particularly slurs such as the term bitch which is seldom referred to women.

Now's the time (now's the time) 2 find a rhyme (Yeah)

That's got a reason (Yeah) and frees the mind (free your mind)

From angry thoughts, the racist kind (Yeah)

If we all wanna a change then come on get in line (Get in line!)

Next time we march (Whoa)

We're kickin' down the door

Next time we march (Hey yeah) (Whoa)

All is what were marchin' 4

With this bit of the lyrics, Not only is the artist revolting against racism, but it is a warm encouragement to react and change the situation. This song is a total anthem against racism, prejudice, and misogyny, to the point that in 1995 it became the hymn of the Million Men March. Moreover, I think it is urgent to focus on the arrangement of this song. The arrangement is strictly connected to the lyrics to make the song even more vivid. I picked the music sheet for the piano. I am not going to annoy you with some obnoxious details, and I will try to be brief. I hope to be as clear as possible. The arrangement is presenting a key signature at the beginning of every staff which means the song is arranged in G major. The key signature designates notes that have to be played higher or lower than the corresponding natural notes, and it is applied through to the end of the piece or up to the next key signature. In this case, after the clef, we can find a sharp sign which means that some notes are raised one semitone above the natural notes. Some other notes have the natural sign near them which means that the sharp key signature is canceled for them, hence these notes are natural. With this said, the question should be, why would Prince arrange the song like this? In my opinion, the artist might have used a key signature to raise some notes and the natural sign to cancel the accidental, for a specific reason. Musically speaking, Prince was an educated genius, hence I am sure he knew exactly what he was doing and why. The artist wanted to create an imbalance between the notes to create the effect of a real and difficult march, almost like climbing a mountain. Perhaps this arrangement might symbolize a difficult march that eventually will lead to the achievement of freedom, respect, equality, acceptance. Therefore, I would say that the connection between the extremely complex arrangement and the lyrics was magistrally crafted. This song is just one of the many examples of how brilliant Prince was.

Furthermore, another song that I love is Billy Jack Bitch. This is another protest song, but the topic is totally different from the previous one. Through these hilarious and sarcastic lyrics, Prince is revolting against a gossip columnist named Cheryl Johnson who was caught being utterly rude. As a matter of fact, the song is so crystal clear that there is no need for further explanations. However, one thing that I noticed in the lyrics Prince managed to mention the initials of the woman.

Joy - it's in the dictionary

See "J" Billy Jack Bitch

The artist could not write the actual initials of the woman, because otherwise he would have been sued. Nonetheless, Prince was so smart that through a phonemic effect (see J) he managed to say the initials of the woman and thus give subtle hints about the woman’s identity. Moreover, what impressed me about the song is the drumline which is in my opinion phenomenal. The striking background vocals also caught my attention because, after some research, I found out that the voice we hear belongs to the rockstar and Prince’s fellow artist Lenny Kravitz’s. Two geniuses in one song are there anything more iconic?

Last but not least, my favorite song on the album is Gold. I love this masterpiece with every cell of my body. The meaning and the message this song is delivering are so POWERFUL!! The deep meaning behind these uplifting lyrics is to be ourselves, be unique, and never follow the mass because “All that glitters ain’t gold”. We should never follow the crowd. Not everything the crowd does is gold, even if it looks like it. We should be ourselves and make a difference. We should take difficult roads and climb the highest mountains to see the top. There would be another method of interpretation. The majestic music video and the scribble slave across Prince’s face might be inferring another significance. Thus, I would assume that this song might be another protest but this time against Warner Bros since Prince was in the legal battle against record label. Indeed, the meaning of the song may apply well to that situation. As a matter of fact, Prince might be inferring that even if contracts with a record company look like gold, in reality, they just glitter that tie the artists to a condition of slavery. Anyways, the arrangement also deserves attention. Indeed, the chorus of the song goes “All that glitters ain’t gold” and in my opinion, the arrangement of the keyboard is extremely peculiar and well related to this bit of the lyrics. First, it is important to say that the keyboard is dominating and I also think it is important to pay attention to its arrangement. As I could see from the music sheet, the arrangement is characterized by high notes which are raised by the key signature after the clef. Indeed, this song is arranged in D major which means that the arrangement contains 2 sharps and the arrangement is written like this :

This also means that all the already high notes on the staff are raised one tone. Now you might be asking: what is the point she is trying to make? what does this have to do with Prince? I am aware that the logic behind this might seem odd, but I will get to the point of this. As I said, this song’s composition is characterized by a range of middle-high notes. As Prince was musically educated, I am quite sure that the composition of this masterpiece and its arrangement, have a deep connection with the lyrics. Indeed, I would assume that Prince might have opted for this arrangement to enhance the meaning of this beautiful masterpiece. The chorus of this song goes “all that glitters ain’t gold” and in the music video we can see Prince being “showered” with a rain of golden glitters, therefore this recurring topic might be what connects the lyrics to the arrangement of the song. As a matter of fact, when we think about glitters, especially a rain of glitter we might associate this with a particular sound which most likely might be characterized by some high tinkling sound. This is exactly the effect Prince aimed to create with this magistral arrangement. Those middle-high notes I mentioned have the peculiarity of creating this beautiful effect that is the sound of glitter tinkling, which is even more enhanced by the music video.

The release of Emancipation marked Prince’s definitive end of the partnership with the record label Warner Bros. It was the artist’s 19th studio album and probably one of my favorites. From the self-explanatory title, it is quite evident that Prince was still fighting against WB for his rights. However, not only is this work featuring protest songs but also some covers and some love songs where the artist expresses his affection for his former wife Mayte Garcia. Through some well thought and precise details, Prince’s personal touch is quite evident in this project. Indeed, this is a triple album and each album is consisting of 12 songs. Each album lasts exactly 60 minutes. Hence, the accuracy and the precision behind this masterpiece are quite impressive. In fact, the artist had an explanation for this, as he explained in several interviews, this was based on his studies of ancient Egypt and Egyptians: “The building of the pyramids and how the pyramids were related to the constellations. They were a message from the Egyptians about how civilization really started."

Among the most significant songs on this masterpiece we can find: The Holy River, Slave, The Love We Make, and the homonymous Emancipation.

The first song mentioned is The Holy River. Through these exceedingly deep lyrics, we can infer that the artist went through a major spiritual shift. More precisely, the Holy River might be a metaphor that might be symbolizing the baptism. Indeed, if my guessing is correct, this metaphor will be perfect with the general meaning of the song as being baptized also means the beginning of a new life, which is what Prince experienced with this major spiritual shift.

Let's go down 2 the holy river

If we drown then we'll be delivered

U can still see the picture upon the wall

One eye staring at nothing at all

The other one trying 2 focus through all your tears

U can try and try but there's nothin' 2 hide

U can't run from yourself and what's inside

U got 2 find the answers 2 the questions that U most fear

So over and over U ask your soul

Why'd U come down 2 a world so cold?

And the voice inside says 2night the truth will be told

Also, the chorus of the song is quite eloquent as Prince is providing a detailed explaining of how he went through a dark moment in his life where he was struggling to find answers, where he was afraid to look inside of himself and to find the truth and the answers.

U surrounded yourself with all the wrong faces

Spending your time in all the wrong places

Puttin' your faith in things that only make U cry

People say they love U when they wanna help

But how can they when U can't help yourself?

The more they say they love U, the more U just wanna die

So here we go again, the self-analysis

Have another glass of Port and uh... forget this

The band's playin' at the club 2night and they're bound 2 groove

Also, these lines are quite eloquent, and I think there is no need for some further explanation. These are practically a description of the troubles he went through and how lonely and hopeless he felt during that time of his life and how he managed to survive.

There U are, U think U're high

U can't ask yourself cuz U'd only lie

If U had a dollar 4 every time U tried

U can't call nobody cuz they'll tell U straight up

Come and make love when U really hate 'em

Relationships based on the physical are over and done

They're over and done (They're over and done)

U'd rather have fun

With only one, with only one

Only one... one (one)

Again, in these lines, the artist is describing what he went through. In the last 5 lines, we can notice that a major spiritual shift was occurring and thus the positive change the artist went through Indeed, in the next lines, the artist describes how he started to change after he realized that God was by his side.

And then it hit 'cha like a fist on a wall

Who gave U life when there was none at all?

Who gave the sun permission 2 rise up every day? (Ooh, oh yes)

Let me tell it (Go'n)

If U ask God 2 love U longer

Every breath U take will make U stronger

Keepin' U happy (happy) and proud 2 call His name (Go'n and say it)

Jesus (Jesus)

And over and over U ask your soul

Why'd U come down 2 a world so cold?

And the voice inside said 2night the truth will be told

And this time I was listening, hear me

As a matter of fact, as I mentioned, these lines explain, perfectly a time of transition when the artist was evolving and changing. In the next lines, the artist describes the moments after the spiritual shift took place.

Let's go down 2 the holy river

If we drown then we'll be delivered (Yes we will)

If we don't then we'll never see the light (No)

If U die before U try

U'll have 2 come back and face the light (Oh yes)

When U believe it, U got a good reason 2 cry (Oh my, my)

So I went on down 2 the holy river

I called my girl and told her I had something 2 give her

I asked her 2 marry me and she said yes, I cried

Oh, that night I drowned in her tears and mine

And.. and instead of a glass of sorrow and wine

Looking back y'all, I don't miss nothing except the time

And when I see that picture up on the wall

The one eye staring at nothing at all

My eyes trying 2 focus but these are much different tears

Oh, yes they are

Like the end of a beautiful story, these last lines, are the conclusion of this masterpiece that closes with a “happy ever after”. Indeed, in these last lines, the artist compares the act of going down to the holy river to facing the light which means a new beginning, a new life. In these last 9 lines, the artist describes the exact moment when he proposed to his girlfriend to marry him. He then reconnects to the beginning of the song where he cried tears of sorrow while at the end of this story he said to be crying “much different tears” which perhaps might be tears of happiness. Moreover, musically speaking, the arrangement of this song is quite homogenous except for the very last bars. After the artist finishes performing the lyrics, he reprises the main harmonies and performs them with a guitar and piano solo, then adding a choir that performs the background vocals with some light head voices that recall the angels singing. These last bars are played in such a manner that reflects the feeling of the artist: joy, love, relief, ultimate happiness. All the emotions a person who has experienced a major spiritual shift will feel. Furthermore, I have also noticed a shift in the instrumental. At the beginning of this masterpiece, the instrumental is “softer” and the sound of the instruments is kept lower. This happens for the first part of the song where Prince describes what he experienced when he was going through a difficult time. Then, after the artist sings these lines: “ Relationships based on the physical are over and done

They're over and done (They're over and done)

U'd rather have fun

With only one, with only one

Only one... one (one) “

it is extremely evident that the instrumental changes. Indeed, Prince turns up the volume of the instruments which are in my opinion, also joyously played, like he is telling his listener “listen to me, this is my story, I Am happy, and you should be too”.

Another song that I totally love is Slave. This is, in my opinion, such an ingenious masterpiece and we can hear how Prince took inspiration from the whole work songs genre. With the forthright message of the song, Prince was still raising awareness about how record companies exploited artists, hence he wrote this powerful masterpiece, a protest song, to release all his rage and frustration.

Everybody keeps trying to break my heart

Everybody except for me

I just want a chance to play the part

The part of someone truly free

From its chorus, this song is extremely eloquent. Prince is basically protesting against his enemies who most likely would be record companies and perhaps, as he mentioned in the 4th line

“My enemies kept it turning, but now they pound the gavel

And judging me accordingly, I know, I know”

those who judge him for commencing a legal fight against record companies. However, I am quite sure that this masterpiece is a protest song crafted to vent and raise awareness about the condition artists had to stay under for an extremely long time which was treated as slaves. In support of my theory, I would report these lyrics:

Slowly candle burns, where'd they learn hypnosis?

How'd they keep me under for so long?

Break the bread I earn, just keep me far from closest

I need their kind to illustrate what's wrong - what's wrong?

Well, I'll tell you they just keep trying to break my heart

They just keep trying to break my heart, ow!

From the second line, it is quite clear that those who kept the artist under and broke the bread he earned might have been the record companies, particularly Warner Bros, that contractually forced Prince to produce his music and kept a big part of his earnings OF THE MUSIC HE PRODUCED, HIS OWN MUSIC. Another interpretation of this line might be that Warner Bros owned the rights of PRINCE’S MUSIC. Therefore, the artist did not have the rights of his own music which should have been HIS OWN. Moreover, as Prince explained in several interviews when he asked the record company for the rights of HIS MUSIC back, they just said no. This might explain well this line as the record label by not giving him his rights back kept Prince far from emancipating, and hence the artist just left Warner Bros and started his own record company. Moreover, what left me speechless and mesmerized, in total awe about this MASTERPIECE, is the instrumental and the music genre Prince chose to craft this MONUMENTAL PIECE OF ART. Why did Prince choose to give this masterpiece the title of Slave and what music genre could suit well a song with this eloquent title? Obviously, a work song with some soul influences. Indeed, what amazed me is that this masterpiece is crafted as a real work song. To understand this masterpiece better, I need to step back to the work song genre and explain some of their distinctive and relevant peculiarities. Work song is a music genre that was spread around the world (indeed there is more than just one type of work song, they were used all around the world), but focusing on Afro-American work songs, this music genre developed in America during slavery times between the xvii-xix century. This genre had several functions for instance: to coordinate the labor of a group of people working together, which improved the efficiency of the work, and to relieve the boredom of a tedious job, which improves the lives of the workers. Also, work songs were seldom used as an act of protest against the condition of slavery, injustice, and poverty. These songs were frequently sung by a leader followed by a choir. Additionally, to keep the rhythm of those chants, workers generally used their working tools or the stomping of their feet or they even clapped their hands. With this said as I would say that Slave by Prince is part of this music genre. Moreover, as we can hear, the beats of this masterpiece resemble the use of the tools used by slaves to create the rhythmic path to their chants. Another peculiarity that was taken after the music genre just mentioned, is the choir to which Prince was the lead singer. Indeed, the artist performs the main lines while the chorus is performed by the choir. This technique is called call and response which was quite typical in Afro-American work songs. Additionally, the emphatic and emotional and heartfelt performance the artist offered, makes it easy to sympathize with his pain, his rage, and his exhaustion.

Furthermore, one of my favorite songs on this album is The Love We Make. Such a breathtaking masterpiece. In my opinion, the meaning of this masterpiece is quite hermetic. Indeed, just by reading the lyrics, it might not be clear what Prince meant with those words. However, It is widely believed that this song might have been produced to remember Jonathan Melvoin, Susannah, and Wendy’s brother, who died from heroin overdose. Melvoin was a musical child prodigy who worked with Prince on several projects and he also collaborated with some punk bands. It is believed that this song is dedicated to him for several reasons: the first one is the year he passed away which was 1996, secondly, and most importantly because the artist described the song as “written to speak to the spirit of a friend lost to drugs”. Moreover, in the liner notes to the Emancipation 1996 LP, the song is described as “written for a lost friend”. Hence, for all these reasons, this song is believed to be about Jonathan Melvoin. This is perhaps one of the most powerful and inspiring songs in Prince’s vault, truly breathtaking. With the reassuring yet preaching lyrics the artist was delivering an enlightening message: no matter how difficult life might be, there is still hope and we should all be grateful for the miracle and the gift God gave us.

Happy is the way 2 meet your burdens

No matter how heavy or dark the day

Pity on those with no hope 4 2morrow

It’s never as bad as it seems until we say

As I mentioned, specifically in these lines Prince is encouraging the listener to be happy and full of hope no matter what, condemning those who do not have hope in the future as things are never as bad as they seem.

Precious is the baby with a mother

That tells him that his savior is coming soon

All that believe will cleanse and purify themselves

Put down the needle, put down the spoon

Even though these lines are quite hermetic and enigmatic I will attempt to give a proper explanation. The artist is mentioning a baby and his mother, and the mother telling the baby that his savior is coming soon. Hence, as Prince was extremely spiritual and had a great, broad, and keen knowledge of the Bible and the Gospel, I would assume that these two lines are related to the Scriptures. The logic behind this might seem odd, but I will attempt to get to the point with a proper explanation. As Prince was fascinated by the ancient Egyptian world, as it is evident from the set up of the songs on the album, I would assume that these lines are connected to two biblical figures. Honestly, at first, before doing my research, I was going to assume that Prince was alluding to Jesus Christ and the Holy Mary. However, the biblical figures he was hinting to, were instead Moses and his mother Jochebed. For those who are not familiar with the Scripture, Jochebed to avoid the mass slaughter of Hebrew boys, and therefore, her son to be brutally killed, she set her baby adrift in the Nile River, hoping someone would find him and raise him. God so worked that her baby was found by Pharaoh's daughter. Jochebed even became her own son's nurse. Then, God used Moses mightily, to free the Hebrew people from their 400 years of slavery and took them to the Promised Land. Although little is written about Jochebed in the Bible, her story speaks powerfully to mothers of today. Hence, the connection between those two lines of the song and the biblical figures is quite clear. Moreover, as the title of the album is Emancipation and one of the topics of this masterpiece is the artist’s rebellion against Warner Bros, which forced him to work in a condition of slavery, Moses's story who freed Hebrews from slavery and took them to the Promised Land, might apply quite well to Prince’s story who fought to free himself from Warner Bros and start his own record company. Moreover, with the following two lines Prince is suggesting that by believing in God we are purifying and cleansing themselves. As regards to the last line, as I mentioned, is what created the widespread belief that this masterpiece might have been dedicated and inspired by Jonathan Melvoin. In addition to that, on the album, there are not reported the full lyrics of the song, but just one line of it which is precisely “Put down the needle, put down the spoon” and on the bottom line we can find “Written 4 a lost friend.” which hints even more to Jonathan Melvoin. Again, referring to the line I just mentioned, Prince is using another tone to sing these words. Indeed, if we listen to the song attentively, we would hear how the artist was preaching against drug addiction. Furthermore, the next lines, are extremely well related to the previous one.

Sacred is the prayer that asks 4 nothing, oh

While seeking 2 give thanks 4 every breath we take, oh

Blessed are we inside this prayer

4 in the new world, we will be there

With these lines, Prince is encouraging the listener to be grateful for the gift of life, giving thanks for every breath we take, praying God without asking him for anything but rather praying him with gratitude for the gift of life. In the last two lines, Prince is basically telling the listener that those who pray God, believe in Him, and have faith in Him, will be blessed with a “new world” which is the Kingdom of Heaven. The last lines of the song are the chorus.

The only love there is, is the love we make {x2}

(the only love there is, is the love we make)

Only love there is, only love there is

The only love there is, is the love we make (yeah)

The only love there is, is the love we make

These lines repeated four times like a beautiful monumental hymn, are used to teach a vital lesson: the only thing that matters is the love we give out, the love we spread while we are alive. That is to say, this is the ultimate purpose of life: to give love and being grateful for the gift of life. Furthermore, as regards the arrangement of this masterpiece, it was crafted in such a way that it allowed the artist to use a preaching tone during the interpretation. This peculiarity in the performance of the song is even more enhanced at the end of the masterpiece. Indeed, when the artist performs the lines that begin with “Sacred is the prayer that asks 4 nothing”, he changed the vocal register from a light chest voice to a powerful head voice which also gives more power to the words he was singing turning them into a real preach. The shift of vocal register in this particular bit of the song is also extremely effective as the artist is singing out loud such an important lesson that MUST be heard by everyone. Perhaps Prince has put so much emphasis on these magistrally written lines because this is the fulcrum of the song that everyone must listen to carefully. Additionally, if we listen to Prince’s voice attentively, we will hear some slight shifts in the intention put in the performance. As regards to the instrumental, the Artist opted for a slow ballad in 4/4. Although the choice of a slow ballad, the song is reinforced by guitar, drums, and piano. Additionally, while I was listening to this masterpiece, I realized that the instrumental is characterized by a progressive raising of the tonality of the song. This way, the instrumental was raised by 2 octaves. This characteristic, besides making this masterpiece even more effective and turning it into a beautiful and inspiring preach, gives the listener the idea of a beautiful climb that gets straight to heaven. Personally, whenever I listen to this masterpiece, I feel like I’m watching a beautiful sunset or hiking in the mountains. Moreover, the arrangement is mostly characterized by music accidentals, which in my opinion are an extremely important part of the composition of the song since without them the song would not be perceived as a powerful preach.

If you guys would like to purchase your copy of the albums I wrote about in this article (which I recommend, PLEASE DO NOT BOOTLEG PRINCE’S MUSIC), I’ll post the links below here

https://www.amazon.com/dp/B07G4RYC5D/ref=as_sl_pc_tf_til?tag=giuliabianchi-20&linkCode=w00&linkId=2a37eabce98ae7fd530fddeff2287ed5&creativeASIN=B07G4RYC5D

https://www.amazon.com/dp/B07VRFM9YJ/ref=as_sl_pc_tf_til?tag=giuliabianchi-20&linkCode=w00&linkId=a1e0d017e5a3de4e6b01f3fc5a5f4f3c&creativeASIN=B07VRFM9YJ

https://www.amazon.com/dp/B07G4LHQHQ/ref=as_sl_pc_tf_til?tag=giuliabianchi-20&linkCode=w00&linkId=1da616a288e24d1a38bd64113cbb08a0&creativeASIN=B07G4LHQHQ

This was the third part of a series of articles dedicated to Prince to celebrate his life and most importantly his art. Stay tuned for more. If you have missed the first part feel free to check it out✨ In the meantime stay home, stay safe and healthy. Peace and Love 4 one another. thank you so much for your attention 💜 G 💜

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kimchi-noodles · 4 years

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[Interview] Meychan on his second solo album, “daimeywaku”

”A ‘Total Nuisance’ apearing once in a lifetime, Meychan

Original article from natalie.mu Translation by noodle

Meychan released his newest album entitled “daimeywaku (‘Total Nuisance’ in English),” composed of all original songs.

Meychan, who has performed in large scale events such as “XYZ TOUR,” “Hikikomori-tachi Demo Fes ga Shitai!,” and more, and is also a member of the Youtuber unit “Niku Chomoranma,” has already gained fame with this wide range of activities. This second solo album from him contains songs that showcases his hobbies and preferences, including songs written by Meychan himself, a collaboration song with BRADIO entitled “Horebo Revolution” that materialized from an offer, as well as original songs from vocalo-P’s that Meychan himself had handpicked. In this exclusive, we look into the new generation utaite Meychan’s charm, unravelling how he became a vocalist, his thoughts on his songs, and his stance about his content.

(Full interview under the cut!)

Started singing after failing entrance exams

──How did Meychan decide to start a career in music?

I started singing under the name “Meychan” as a hobby when I was a 3rd year in middle school, but I didn’t start because I was aiming for something big. I had failed my high school entrance exams then, and when I went home I recorded a cover for no reason. After that, my mother entered my room screaming. That was really intense (laughs). She was like, “My son is singing with a loud voice after failing his entrance exams!” (laughs).

──After that, you continued uploading “utattemita” videos during your high school and college days, right?

That’s right. I was uploading songs during high school, but honestly I still wasn’t serious about it then. I guess I was only doing it for self-satisfaction. I started to change when I was in college, when I gained more people who listen to me. I was able to do more things ever since I became a college student, so I also tried to independently organize my own oneman live show. For the first time, I got the chance to earn money by singing, so I think I started becoming more serious about my own singing at the time.

──This is the second time you released a solo album with “daimeywaku” (‘Total Nuisance’ in English). Your first solo album (“Meychan no Atama no Naka wa Daitai Konna Kanji Desu,” ‘Meychan’s Thoughts Sound Roughly Like This’ in English) would be around 3 years ago, but has Meychan’s surroundings undergone huge changes within those 3 years?

Let’s see... I became a Youtuber, and my solo live shows have become more frequent…… It’s only obvious that so much has changed in 3 years, and the way I think about my activities have also changed. My thoughts on being an utaite have sprouted from something I did as an extension of my hobbies, to something that lets me face music as a job. Three years ago, my first album was still an extension of my hobbies, but a huge part of it was about me enjoying being an utaite, so because I enjoyed being an utaite, I was thankfully offered a chance to make a CD. I’ve never made a CD before that, so I only gathered songs that I liked, and eventually completed the album called “Meychan no Atama no Naka wa Daitai Konna Kanji Desu.”

──Was there a trigger behind you changing your mind about your activities?

There were a lot of factors leading up to it, but one of the biggest factors was probably getting to join “XYZ TOUR.” I’ve been in a few compilation live shows before then, but the consciousness of the performers in XYZ TOUR are way different. The commitment to the lights and sound is also not a joke. I realized “Ah, so there are people who make up a single event while being fixated on such things,” so I’ve come to make up my mind that I also want to be able to reach that level.

An explosive power behind negative feelings

──The biggest difference between the this and the previous album is that you also recorded songs that you yourself wrote for this album, right? Have you already written your own songs before this?

I was interested in writing songs, and I originally had a guitar. But when I decided to actually write songs, I also started learning the piano to polish my musical sense, and started studying about chord progressions. At the same time I also thought about writing lyrics, so in three years, I scribbled down notes about my thoughts on a notepad. The first song I finished was “Victor.”

(Link: VICTOR)

──You uploaded the song “Victor” in April last year, right? How was the feedback upon uploading your own song?

I felt really uneasy before uploading it, you know. I only ever uploaded covers until then, so I only released songs that listeners already know about. But releasing my own song…… this is something trivial, but that means I’ll have everyone listen to something they haven’t even listened to before, right? I was uncertain whether they’ll be able to accept it properly, so I was really nervous upon its release. But if I was going to choose a profession to sing as an artist, I felt that it’s extremely important for me to have everyone understand what I think using songs. That’s why I didn’t have any reservations at all about releasing my own song.

──Were you already thinking about the album when you produced Victor?

I already decided that I would be making an album, but I haven’t drawn out a concrete plan for the contents of the album yet. I got a suggestion saying “All of the songs would be written by Meychan,” but I responded with “No, that’s definitely impossible.” But when I finished the song “Victor,” I felt like I started seeing that kind of album I wanted to make.

──What kind of vision did you have then?

First, when I tried writing one song, I already knew that making an album only with my own songs would be difficult (laughs). But I still wanted to express myself properly with the album, so I thought I should put in everything that I liked and wanted to work on. In its roots, it doesn’t differ much from my previous album, but the things that I can do and want to do have also changed in three years, so even with the same theme, I’m certain that the contents of this album are still different.

──Reading the lyrics of the songs you wrote, I felt that there was a gap between them and Meychan’s public image. Meychan has a strong image of brightness and cheerfulness, but it was as if there was something dark hiding in your lyrics.

Ah, I see. I guess there were several dark parts in the lyrics (laughs). I think I’m still that cheerful being that everyone thinks I am. Whenever I express myself, it’d be easy to produce an output from happy feelings. Like if when a friend gets drunk and enjoys himself, he’d be able to express himself without hiding his feelings. But negative emotions like hate or hidden ill feelings are things that I feel are still stored inside me. Rather than happy emotions, I think that those negative feelings stored inside have a stronger explosive power. In order to get to know me as a human being, I felt that I needed to express those powerful parts within me.

──That means that a different face from what Meychan uses in live shows or streams is in this song, doesn’t it.

Honestly speaking, showing these hidden emotions is embarrassing. There may be people who’d say that they didn’t understand what I’m saying even if they read the lyrics. But I think it still means something to at least read them to try to understand them, and since I chose to work on expressing myself through songs and words, getting others to know me as a human being is extremely important to me. I can’t just keep on saying that it’s embarrassing, I guess.

A “Total Nuisance” that exceeds all genres

──The 3 songs that Meychan wrote, which are “Victor,” “Unusual,” and “Yomaigoto” are all different, and are rich in variety. When I listened to “Victor,” I thought that maybe Meychan’s musical roots were founded in guitar rock, but I suppose it’s not just that.

While I do like guitar rock, I’m actually the type who listens to anything. For example, the song “10-9,” which was written by K.F.J., was released using Maroon 5 as a reference. Recently I’ve been into Ulfuls, and Caravan Palace if you’ll ask about Western music…… I also love funky music, just like BRADIO-san who has also taken care of me in this album.

I gave them a desperate attack, you know. I didn’t expect them to give me the OK.

──Why did you think of giving BRADIO-san a collaboration offer?

This is only my impression, but I think that songs with vague meanings that let listeners give their own interpretations have been popular lately. But BRADIO-san sings songs that are straightforward. That was something I couldn’t do, since it was so cool. I was very much attracted to it.

──What sort of order did you decide on for the collab?

I love the songs from BRADIO-san that have self-repeating riffs like “Koshi Furu Yoru wa Kimi no Sei” or “Golden Liar.” I put together my favorite songs in that pattern and sent them a message with them saying, “I would like to do a song that will help listeners enjoy themselves.”

──And you were also able to perform with BRADIO-san on stage.

I couldn’t make sense of it anymore. The people I used to listen to using earphones are suddenly standing next to me, and are even singing with me while we look at each other. It was so unreal, that I thought that it was all a dream until now. I really did not expect to be able to perform with them in a live show, and I think I might have been a “total nuisance” to BRADIO-san in a lot of ways (laughs).

Speechless about “Number Nine”

──Aside from your own songs and a collaborative song, the album also includes original songs provided by vocalo-P’s such as Tsumiki-san, buzzG-san, Hachiya Nanashi-san, Hayashikei-san, and more. Was it Meychan who chose all of them?

That’s right. I had the honor to choose my favorite composers, and give them offers.

──I mentioned earlier that the lyrics that Meychan writes are dark, but even if you read the lyrics of the songs written by these composers, there are still little songs that show a brighter side.

Now that you mention it, you may be right. Even if they sound cheerful, you can say that the lyrics also hide shadows behind them…...

──Do you usually interact with these composers?

Actually, not much. Of course, I’m acquainted with some of them, but it’s not as if I have connections with several producers, too. This time, the people I asked were people that I usually listen to because I like their music.

──So that you’re saying that these composers wrote these songs while properly looking at your nature as an artist from your songs.

Professionals really are amazing (laughs). When the names of the composers I asked came out, I already had an image of what all of the songs in the tracklist would be like, so I gave them the order expressing how I imagine the songs to be, but I didn’t say much about the lyrics so it must have been a surprise.

──Which of the songs (from the vocalo-Ps) left an impression on you?

Obviously I like all of them, but the one that I thought was amazing was Tsumiki-san’s “Number Nine.” When I first received the song I didn’t even say anything. I didn’t say something like “Please do something like this”; rather, I immediately told him “This will do, thank you!”

“XYZ” is home

──The DISC 2 of the XYZP Edition of the album includes a collaboration song with XYZ TOUR members. You’ve been performing with them several times in live shows, but this is the first time you’ve recorded a collaboration song with them, right?

That’s right. We’ve sung together lots of times in live shows, but recording a song with them felt pretty refreshing. It’s different from usual and here we get to face the song objectively, so I discovered various things. Things like vocal compatibility, or where to put aside someone’s voice, where to add them. I learned a lot, and I think that this will help out with live shows as well.

──What do you think about your collaboration partners, which are Gero-san, luz-san, Senra-san, and Araki-san?

They’re all my senpais. Gero-san was someone I really admire. luz-san is a senpai who is also my benefactor, always calling me in for XYZ TOUR, while Senra-san and Araki-san are senpais who I often drink with in private. Rather than calling them senpais, they might be more like my drinking buddies (laughs).

──After joining XYZ TOUR for the first time in 2017, Meychan has been joining the tour every year, but how much has the tour affected your activities?

It’s become something I couldn’t wait for, like a kid who couldn’t wait for Christmas. Whenever an XYZ season approaches, I would get all giddy about it. I’ve been doing various activities, but for me, this is the only other place where I can feel like I’m “home.”

──“Hikikomori-tachi demo Fes ga Shitai! ~World Domination @ MetLife Dome,” which was held in June last year, also had Meychan as a secret guest performer, surprising the audience.

Various senpais got to hook me up for the event, so it was a huge honor. People have started paying attention to internet artists, but not everyone from the newer generation utaites get to be noticed. I hope I can be someone who could serve as a bridge between those two groups, in a good way.

──What do you think was the reason your senpais invited you to perform with your voice at such a large-scale event, out of all the new generation vocalists?

That’s a difficult question. I wouldn’t know the reason why they would take me in unless I ask them myself, but I feel like it’s because I’ve worked hard to continue being an utaite that I’ve also gained listeners. “Utaites” originally used to refer to people who upload “utattemita” videos. But recently, there aren’t a lot of people who upload “utattemita” videos anymore. That’s because of certain circumstances like the increase of people uploading original songs, but still I do what I have to do to keep being an “utaite.”

“Utaite Meychan,” now also “NikuChomo Meychan”

──I would also like to hear about the Youtuber unit you’re in, Niku Chomoranma. Your activities in Niku Chomoranma have also become part of your orbit, but there are also people who discover your music because of your activities as a Youtuber, right?

That’s right. If anything there are now more people who’d call me out on the street with “NikuChomo Meychan” instead of “Utaite Meychan.”

──Excluding your Youtuber activities though, you’ve also revealed your face at an earlier stage of your career.

If I don’t show my face, everyone would try to imagine what I look like. They probably wouldn’t help but imagine “He’s definitely a hottie!” or something. That’s why I thought of lowering that hurdle and revealed my face at a fairly early stage of my career. I think it wasn’t awkward for people to see me become a Youtuber thanks to me showing my face, so I want to praise myself from that time for making that decision (laughs).

Being a nuisance more than he expected

──Since you’re releasing the album “daimeywaku” now that your career is on a roll, what kind of album did this become for Meychan?

I think it’s become an album that “I just did.” I freely wrote down my own thoughts, and asked composers for songs that I wanted them to write. I also had the honor to have people accept my collaboration offer when they probably wouldn’t do it in the past. There were a lot of people who got involved with me and I said a lot of stuff that I might have been a nuisance to them more than I expected (laughs). But of course, I’m happy that everyone worked with me, and I’m grateful.

──What was a moment when Meychan became a total nuisance during the production of the album?

Basically the fact that I woke up late and arrived at the recording pretty late. I deeply apologize for being a total nuisance during that time (bows down in apology to the staff).

#meychan #utaite #noointerview #nootranslations #haimeywaku #meichan

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sontagfag · 5 years

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THE PREDATORY WASP OF THE PALISADES IS OUT TO GET US: a full analysis

NOTE: everything i know about music theory i learned from the internet so it very well may all be nonsense; take what i say with a grain of salt. this is long as hell and mainly my ramblings about a song i love with all my heart by one of my favorite artists. all under the cut.

first of all, there’s the title. immediately we see the main symbol of the song—the wasp—being characterized as “predatory”, reinforced by the fact that it’s “out to get us”. the wasp, in this sense, is seen as a villain, or as a predator, preying on sufjan and his friend. more on that later. sufjan also gives us our setting- the mississippi palisades, a stretch of bluffs along the mississippi river near savannah, illinois. while you could choose to view this as metaphoric for the story (ie contrasting the sweeping surroundings with the mundanity of the story sufjan’s telling) i choose to believe it’s just there because it was the literal setting of the story.

the next thing worth noting before actually getting into the meat of the lyrics/music, is the song that comes before it on Illinois, A conjunction of drones simulating the way in which Sufjan Stevens has an existential crisis in the Great Godfrey Maze. the song is 19 seconds long, and consists of synth chords and some cymbals. it’s an interesting track, considering that it is simultaneously the most overtly personal, title-wise, on the album (as sufjan’s known to speak heavily in metaphor), yet also the least revealing in its actual content. sufjan chooses to follow this enigma of a track with Palisades, which i’d consider to be the emotional heart of the whole album. perhaps this could be considered to be an emotional prelude to Palisades.

the song opens minimally, with an arrangement of flute, guitar, and piano, contrasting the often orchestral big band feel the album has. i think that this smaller arrangement makes the song feel more personal, more authentic— the only other song on the record to do similar is John Wayne Gacy, Jr., which absolutely uses the even more minimal arrangement to give a more confessional feel. also noteworthy is that the song is in 6/8, which for the less musically inclined means that every measure consists of 6 eighth notes. 6/8 is commonly used for folk dance music like jigs or polkas, so it’s interesting sufjan uses it here. alternatively, you could think of it like two triplets per beat, a sort of double 3/4.

the song is also in e major, which is a key generally associated with joy and delight (according to Christian Schubart’s Ideen zu einer Aesthetik der Tonkunst). the chord progression, as far as i can discern, is E, C#madd11, Amaj7, F#m9. In the key of E, this is considered going from the I chord, to the vi chord, to the IV chord, to the ii. going from the I to the iv is not unusual, and is used in the famous “ice cream changes”, its effect being to prolong the tonic. in addition, it’s a submediant chord, which wants to resolve to the predominant. the chord also has a d# in it, which helps bring it a little closer to the Amaj7 chord. like the ice cream changes, the iv resolves to the IV here. contrary to the ice cream changes, though, this I-vi-IV progression is not just to add interest as opposed to just immediately going from the I to V. instead, sufjan does a little descending thirds type dealio. the Amaj7 gives us a little bit of the feeling of resolve because Amaj7 and E both have an e and an g# in common, but mostly provides the tension of wanting to resolve to the tonic. finally, sufjan takes us to the ii, which is a supertonic, or the I chord sung a step up, providing the release of tension wanted from the subdominant. also interesting about this progression is that every chord in it contains a g#, helping ease the transition from chord to chord. essentially, this progression is essentially a variation on the descending thirds progression, but with a little added flair. my last note here is that it’s an interesting contrast to descend with the chords while the intro flutes play an ascending melody.

wow, that was a lot of music theory, something i don’t know that much about! the song keeps this same progression pretty much throughout the whole song, except for the instrumental sections and the ending, but we’ll get to that in a bit. let’s get into the lyrics now, starting with the first verse:

“Thinking outrageously I write in cursive

I hide in my bed with the lights on the floor

Wearing three layers of coats and leg warmers

I see my own breath on the face of the door”

this first line is particularly beautiful, i think— we get the juxtaposition of his thoughts to how he is writing them down (in cursive), the translation of thoughts into action. cursive is inherently controlled, and meant to be beautiful, unlike his thoughts. there’s also a kind of self-censorship in writing in cursive, as opposed to writing in your own handwriting, because you are eliminating the less sightly parts of how you write and conforming to a certain way that people have decided words are meant to be written. i think you could even translate this to the entire song’s themes of how tiny actions are interpreted to be huge, sweeping statements. there’s also that once the vocals kick in, all the other instruments go out except for the guitar, and occasionally some vocal harmonies in the background, again giving this a very confessional and ethereal feel.

the rest of this verse is spent setting the mood of the story—lights on the floor, hiding in bed, a mood of secrecy. the “lights on the floor” particularly reminds me of my own experiences of summer camp, lying in bed with flashlights under the sheets while i read. i’d also interpret the reference to “leg warmers” as a callback to the 80s- sufjan’s said that this “was written in 1986”. there’s also this implied cold, what with the three layers and being able to see your breath, which i think is another juxtaposition to when the story took place, summer camp.

“Oh, I am not quite sleeping

Oh, I am fast in bed

There on the wall in the bedroom creeping

I see a wasp with her wings outstretched”

this second verse is a little bit puzzling. i’ve always puzzled over what “i am fast in bed” means, and the way i see it there are two interpretations: either sufjan physically got into bed quickly, or the one i like more, he’s kind of shortening “fast asleep” by saying “fast in bed”. I think these lyrics also add that cloud of sleepiness to the whole thing, like this is just a memory that comes to mind right before he falls asleep. and here is also where we first see the wasp, the catalyst for this memory. It’s described as “creeping”, again adding to the secretive nature of the memory, and also the possibly dream-like quality to the wasp. it’s also interesting that sufjan chooses here to characterize the wasp as female- the only way i can see to interpret this is that apparently female wasps, after mating, become solitary, so perhaps it has something to do with that?

then we have a little instrumental break, going from b to a, which are the V and IV chords, respectively. this is pretty standard, going from the dominant, which creates tension, back to a tonic. however, it’s here that the song’s arrangement gets a little more boisterous. along with the guitar come back the flutes playing a repeating melody line along with some percussion, and a strings section if i’m not mistaken? i couldn’t find performance credits for this song in particular so you’ll just have to take my word for it. as soon as this instrumental break ends, though, it goes straight back into just guitar.

“North of Savannah we swim in the palisades

I come out wearing my brother’s red hat

There on his shoulder my best friend is bit seven times

He runs washing his face in his hands”

here again sufjan is setting the scene, with tiny details- the swimming, the red hat. the interesting thing about this story is that its real life counterpart takes place in michigan, where he was born, but he moved it to illinois for the sake of the album. i think that this little twist of reality adds even more to the whole quality of this song as unreal, perhaps just a dream. while i’m tempted to say the red hat could be a reference to Catcher in the Rye, i did make it past 8th grade english so i’m not going to. here, also, is the first appearance of sufjan’s friend- named muppet, franco, or frankie, depending on what live video you’re watching. interesting that sufjan simply introduces him as a “we” here, like he’s just retelling the story to himself. we can also see that the actual wasp bites are not the actual thing in pain here, since he’s not washing his shoulder- he’s washing his face. something about this scene to me screams embarrassment, that he’s running, with his face in his hands. just as the wasp was only a metaphor, so too is the bite- for shame, for hurting. also worth considering is seven times- my boy suf is very religious and so we can certainly extrapolate something otherworldly about this, what with seven being a holy number.

“Oh, how I meant to tease him

Oh, how I meant no harm

Touching his back with my hand I kiss him

I see the wasp on the length of my arm”

the harmonic vocals are back in, giving this whole section a very holy feel as well. again, we have the “oh”s preceding two matching statements. some nice poetic repetition. this section in particular is also very interesting- even before sufjan tells us what he’s done, he’s defending himself. the way i see it, the wasp symbolizes the encroachment of the outside world, what others might think. we know sufjan knows that he should feel ashamed from the first two lines of the verse and just this simple declaration- that he kissed his friend- provokes the fear of being stung by the wasp, of hurting his friend through this small gesture because of society’s expectations. i also just love the simple detail that he’s touching his friend’s back, what a tender line? it’s also hard not to notice the imagery here with talking about bodies, first in the last stanza with the shoulder/hands/face, and here with the back/hand/arms. it’s also implied, at least to me, that they aren’t wearing shirts, seeing as they’re swimming, which adds to the raw vulnerability of this moment. anyway, it’s gay.

here there’s another instrumental break, this time with the same chords as the verse but with a trumpet part. It’s descending, following the chord progression, but also giving this section a kind of deflated and lonely feel. it repeats, again, with another trumpet harmonizing the melody line. this is kind of the last quiet moment in the song before it goes, as i’d say, Full Sufjan, with the arrangement. Immediately after, there’s a quick moment of quiet before the drums burst in, along with the flute intro melody, a harmonized lyrical part, and something that kind of sounds like a marimba? the chords also change here to a more major progression, that being E, B, F#m, A. that would be going from I, to the V, to the ii, to the IV. this is another pretty standard progression, with only one chord difference from the famous 4 Chords by Axis of Awesome progression. the only difference is that instead of going from the V to the vi, it goes to the ii. that creates a little more unresolve, because it’s going from a dominant to a subdominant instead of to a tonic, which creates the feeling of home. it is interesting, however, how sufjan then chooses to resolve the subdominant to another subdominant, which just continues that feeling of unresolve until it gets back to the tonic.

“Oh, great sights upon this state! Hallelujah!

Wonders bright, and rivers, lake. Hallelujah!”

this bit is a little less connected with this individual song over the album as a whole, with the overall themes of nature as religious experience. maybe it could also be interpreted as him feeling like this experience as a whole was holy, both in its setting and its content? not sure.

“We were in love, we were in love,

Palisades, Palisades

I can wait, I can wait”

oh god, the way this overlaps with the first vocal part just absolutely murders me. this right here is an undeniable declamation of the relationship between sufjan and his friend. it’s kind of like he’s saying “fuck you” to the wasp and making his love heard, but also intertwining it indelibly with the setting, with how it’s only halfway audible between all the other instrumentation going on. the way that this sole vocal line just comes bursting out of the background also just makes it feel like he was just so possessed by the beauty of his surroundings that he had to say it. also just- “i can wait”- like he knows that he’s not allowed this love now, but he can wait, he knows the palisades and his friend will still be there for him when he’s ready. around here is where the song really starts to feel dense and triumphant.

“Trail of Tears and Horseshoe Lake. Hallelujah!”

it’s interesting he chooses to bring up the trail of tears here, something terrible and heartbreaking that happened in Illinois, in the same breath as extolling the greatness of its land. perhaps this is his way of acknowledging the terrible things that can happen in beautiful places, how we can never quite separate the joy of a place without knowing that it was stolen from someone else.

then the vocals take a break for a second, to let the horns do the opposite of their line before, playing an ascending line, alongside some little xylophone twinkles and a woodwinds section. then returns the “we were in love, we were in love” line. this time it builds over that, with the guitars coming back in, the choral background, and more dramatic percussion.

“Lamb of god, we sound the horn. Hallelujah

Unto us your ghost is born. Hallelu-!”

okay, so lamb of god obviously refers to jesus christ. horns are a disputed symbol in christianity, simultaneously being used as symbols of strength or divine power and haughtiness or arrogance. in this case though, where the horn is being used as an instrument, i think that it’s being used as a call to action, or to battle, like in Psalm 81:3, “Sound the ram's horn at the New Moon, and when the moon is full, on the day of our festival”. based on the second lyric, i think that this is reference to the birth of jesus, since “unto us your ghost is born” mirrors the Christmas hymn in Isaiah 9:6: “For unto us a child is born, unto us a son is given, and the government will be on his shoulders.” however, it could also be talking about the love between sufjan and his friend, saying one should rejoice in it. Genius interprets the second line as God’s ghost being born, but seeing as the original line is talking about Jesus being born, I’m inclined to believe that this is Jesus’s ghost being born. i think that this is referencing the Transfiguration of Jesus, since for the most part Christians don’t believe in ghosts, but i’m not sure how it connects to the rest of the song. perhaps sufjan is saying that Jesus’s reincarnation was in the love between him and his friend? if anyone who’s more well-versed in interpreting religious imagery wants to pitch in, be my guest. this next verse is a little long, so i’m going to split it in two.

“I can’t explain the state that I’m in

The state of my heart, he was my best friend

Into the car, from the back seat

Oh, admiration in falling asleep”

here all the joyous instrumentation of before cuts out and it’s just sufjan and flutes. first there’s a nice little double entendre with “state” meaning both emotional state and physical geographical state. this verse i think he’s facing his own fear at loving someone he’s not supposed to love. It’s kind of like an argument with himself- we weren’t in love, we couldn’t have been because he’s my best friend. the next few lines are pretty vague, but to me they read like sufjan and his friend hooking up in the back of a car, and the tender moments in which he watches his friend sleep.

“All of my powers, day after day

I can tell you, we swaggered and swayed

Deep in the tower, the prairies below

I can tell you—the telling gets old”

the backing vocal harmonies come back in here on “i can tell you”, sort of giving it a holy feel, plus some piano gets added in here. once again, this is pretty vague. the way i see it, sufjan is saying that despite “all of my powers”, however much he wants to repress it, he still loves his friend. i’m not sure what sufjan means by “swaggered and swayed” but it does really remind me of that one scene from Call Me By Your Name. “deep in the tower, prairies below” could be more imagery, especially since sufjan describes this camp as a high up tower on a hill, but maybe it could also be a reference to the tower of babel, since that’s the most popular tower in christianity. the last line i like a lot, both repeating the line a couple lines before and juxtaposing it with “i can’t explain the state that i’m in”, sort of saying that it’s something that can’t really be explained except for in flashes of memories. then the “oh great sights upon this state” bit begins to repeat again, starting to build the drama.

“Terrible sting, and terrible storm

I can tell you the day we were born

My friend is gone, he ran away

I can tell you, I love him each day”

this first line implies that what they have feared has happened- something happened between them so that they suffered from the opinions of others as a result of their love. this is strengthened by the third line, which also calls back to his friend running after getting stung, as if the shame of this love has gotten to him. the second line seems to me to connect back to “unto us your ghost in born”, and it’s interesting that he says “we” here, and says to me that this is not a birth, per say, but a rebirth, through their love. there’s also again the double repetition of “i can tell you”, again making it feel like this is a confession, or a story being told. this verse just strengthens to me the fact that this is a love song, perhaps one that ends in tragedy, but a love song nonetheless.

“Though we have sparred, wrestled, and raged

I can tell you, I love him each day”

this first line i see multiple interpretations of. one is that “we” is him and the wasp, saying he’s literally struggled with his sexuality and how others might react to it. the second is that he is still talking about him and his friend, saying that they fought, but in a loving way only obvious to them. right after this the “we were in love, we were in love” line comes back in and the song reaches its final peak with three dueling vocal lines. but then, the song does something unexpected, the vocal lines fading out and ending mid “hallelujah”, just to be replaced by cymbal sounds and a droning guitar chord. this continues for a long 20 seconds, giving a very anxious feeling to the end of the song before just abruptly ending and going into They Are Night Zombies!! They Are Neighbors!! They Have Come Back From the Dead!! Ahhhh!!.

in conclusion, this is a love song, told through the framing device of the wasp. this is the story of a love that couldn’t be, but it still exists, frozen in time in the palisades, something like a dream. this is everything we could not be, capsulized into tiny fragments that we can hold forever.

#sufjan stevens #sufjan #illinois #asthmatic kitty #the predatory wasp of the palisades is out to get us

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insomniac-soup · 5 years

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TXT: Thoughts on Bighit’s new group, the future of BTS (and Bighit)

March 4 was the day Bighit Entertainment, the entertainment company that manages the worldwide famous Kpop group BTS, released the MV for their new group. I watched the teasers, curious what this new group would bring to the table; after watching the MV, I think it’s worth reviewing what the future may hold, since there’s a lot going on. This post is quite niche in its content so feel free to keep scrolling if this ain’t your cup of coffee. This is a fairly opinionated and extensive take on the topic of the groups mentioned (and Kpop as a whole), so read at your discretion.

[I do not own any of the images, gifs, or videos used in my posts; these visuals are used only for entertainment.]

[Rant #1: Group Comparisons]

PREFACE: to those unfamiliar with Kpop, it’s a genre of music originating in South Korea, placing great focus on the aesthetics of group members, music videos, music shows, and dancing. It originated in the 90′s, drew inspiration from North American music, and evolved to becomes its own genre. Groups or soloists are managed by entertainment companies (as opposed to record labels), so many (but not all) lack autonomy and/or control over their music, general say in the group’s plans, wardrobe, etc. Some groups are more experimental than others, but the industry and genre is quite eye-catching and unique.

So I’ve been keeping up with BTS almost from the moment they debuted, and it’s been great seeing them grow as a group, produce great music (solo mixtapes from the rappers; absolute fire), and get the recognition they deserve. They’re all talented, unique, and have great personalities; that isn’t to say other groups don’t share these traits, but it’s no question that BTS is the most notable for such traits at moment (internationally speaking). The fans supporting them have sparked more debates as the fans increase in numbers, and it can really go either way depending on the fan you meet. Either way, I like BTS, and understand those who don’t. The reason I bring up BTS is because I can’t talk about TXT without mentioning BTS, as BTS is now TXT’s senior group. Now, onto TXT.

TXT, the short-form for Tomorrow X Together, is the new group consisting of 5 members (Soobin, Yeonjun, Beomgyu, Taehyun, and Hueningkai), who just debuted with their EDM-esque EP The Dream Chapter: Star , with the title track ‘Crown’. My thoughts?

1: On the debut title track, I think it’s nice; I don’t think it’s revolutionary or an instant bop, but I do enjoy it. It’s perfect to walk to, the minimalist aesthetic is nice, and they all seem to have personalities. By that, I mean there’s energy from them. That seems pretty typical to expect from any Kpop group, and I’m sure other Kpop fans know that’s given. But there are many groups I’ve listened to whose tracks or debut tracks lacked a kind of ‘punch’. The simple and somewhat cute aesthetic of the MV may not have the actual punch, but I get the feeling the idols themselves are engaging. I appreciated that it was simple, because to be honest, if a debut track is too good, all succeeding tracks can seem underwhelming. With this track, as well as the other songs (Cat&Dog is really catchy not gonna lie), they can work their way up to more complex tracks. This is a quick edit, but after listening to the track a couple more times, it’s kinda catchy. Plus, the lyrics are actually nice, in that it’s not all that different from other songs describing someone’s love changing them for the better, but different because of the word choice.

2: about the group name, I think Bighit favours the acronym-style name, which I do like. This is just a random observation and less so a serious point. Everyone knows BTS are generally referred to just that name, but their other names, Bulletproof Boy Scouts, and their more recent meaning Beyond the Scene, have meaning. I think this can actually make TXT more memorable, because it’s more than just a name. BTS still refers to themselves in the abbreviated form of ‘Bangtan’ (recalling the group’s name in Korean) through songs like ‘Anpanman’, so it helps create an identity. Of course, they aren’t the only group to use acronyms (take AOA, or Ace of Angels), but I make a point of this because they’re not a group from the Big 3 (JYP, YG, SM). EXO and SNSD (although they do go by Girls Generation) are SM groups that both use acronyms (EXO more lucidly), but their name partly has that impact because they come from a notable entertainment company. In the same way that BTS made their name iconic, I can see this working as well for TXT (it also seems really wholesome). My personal interpretation is a theme of unification and obviously togetherness. For each new day, for the future that holds ‘tomorrow’, we can be together, and united in both senses. That might be a bit of a dive, but considering BTS’ naming had similar significance, it would be a nice, wholesome, message to project.

3: They have a really interesting motif with their Introduction Films and group concept, and the members are versatile (in a general sense of the word). Each member has a representative animal and flower associated with them, somewhat reminding me of the different songs sung by the vocalists of BTS (Euphoria, Serendipity, Singularity, and Epiphany). It also kind of reminded me of VIXX, another group that developed their niche as a concept group (meaning each album or EP has a particular theme and songs that match that theme; their latest album EAU DU VIXX has the perfume motif, which implies alluring and scent-related themes and lyrics). This motif, however, is really unique and engaging in its own right, aside from BTS or VIXX. The Introduction Films each dedicate short clips that showcase each member, and the general Intro Film shows them just having fun. Keep in mind that they’re all fairly young, the youngest member being born in 2002. The cute aesthetic may fool you into thinking they’re just another generic boy group (I was kind of tricked into that mentality at first), but like their senior group, this group is building a story with their representative animals and flower. The short story illustrating the boy with horns in their debut showcase was compelling and really interesting; many were quick to point out the wings motif tracing back to BTS’ 2016 album Wings. I see that as well, and I do hope that leads to a good relationship between the Bighit labelmates (I’ll go into detail on that). One of the members, Hueningkai, is the first mixed idol employed in the company (half-Korean, half-American with European and Brazilian ancestry). 2 other members are also good at English, which is really helpful in the market today; what’s helped Kpop groups connect with international audiences is bridging the language gap, so this also means TXT is a group people could understand more (and I wouldn’t say that everyone should speak English and their success is defined by that, but that is the reality in this market). As a brief side note, their dancing seems to be pretty good, which is clear in their dance practice video.

4: as a group on their own, they seem to have potential, but I worry about how they might be compared to BTS. I admit, I compared them at first, but having seen the MV with discarded preconceived notions, I can now say I appreciate TXT in their own right. I am excited to listen to more of their music and give them a chance like I would any other group, and like I mentioned before, they do seem interesting as personalities. I think the problem now is that because they are the brother group to BTS, they will likely seem underwhelming and lacking the ‘it’ quality. I think there are some comparisons worth making that aren’t inherently bad, as well as ones that can be problematic;

Take BTS’ debut MV ‘No More Dream’ compared to ‘Crown’. They are two very different collectives of personalities, and BTS is a lot more aggressive with their darker, b-boy aesthetic. TXT is bubbly and super cheery in comparison, but that’s not a bad thing. That means the groundwork is ultimately different.

As a continuation, TXT is at a different stage as a boy group than BTS when BTS debuted. Bighit was on the verge of bankruptcy, had some scandals (those do exist), and weren’t very rich. BTS’ success decided the survival of the company, but TXT isn’t a group that’s in jeopardy. The company isn’t make-or-break anymore, so considering the circumstances, it’s okay to compare them but not to a large extent. I think it’s okay to compare debut MVs, since that’s fairly harmless, as long as that’s being perceived without the idea that TXT needed to meet the standards of BTS’ debut (and let’s be honest, BTS didn’t have the most revolutionary, amazing tracks to start; some were okay, some are pretty notable for misheard lyrics, others potentially problematic, but they didn’t win awards with their debut songs).

TXT have less members than BTS, so that might have been a marketing strategy; 7 is fairly standard for the number of group members to have, but 5 allows audiences to know everyone faster ‘cause it’s still two less members.

If people can give BTS the benefit of the doubt, then TXT deserves the same courtesy if we are comparing the two. Like I said, BTS gradually progressed as a famous, best-selling group, so TXT should be compared only in the sense that they’re a new boy group under the same entertainment company.

Once I listened to the debut track ‘Crown’, the rapping style greatly differed from BTS’ rap line. They’re more in-tune with melodic rapping over RM, J-Hope, and Suga’s fast-paced, hard-hitting rapping style. Even in ‘No More Dream’ (Jungkook when he still rapped), they’re much more intense compared to TXT’s rappers. You can compare them, but it’s not fair to say anything along the lines of TXT’s rappers being less than compared to BTS’ rap line, since the styles are almost polar opposites.

What it also boils down to is the fact that TXT is debuting in 2019 and not 2013. 2019 can be marked as a new era for Kpop, especially with all that happened in 2018, and doesn’t border on 2nd generation like BTS did. You could say 2010’s onward is 2nd generation Kpop, while 2013/4 (give or take? I’m a little rough with my years when it comes to Kpop generations and haven’t found a concrete chronology so my interpretation here is mostly speculative) is 3rd generation. This is an unpopular opinion of sorts, but 2nd generation Kpop groups innovated in dance/music styles, and deserve credit for such, helping to usher in popular styles and concepts that comprised 3rd generation groups. BTS is no exception in pioneering and creating unique music styles (they aren’t the standard or exception, but definitely stood out when it counted with notable hype tracks like Dope or Fire and impressive choreographies), but I digress. The point is TXT has a lot to live up to, and not just in comparison to their brother group, but also debuted in an era where Kpop is becoming more widespread, more intriguing to newer audiences, and will be very public (considering the advent of social media).

I will discuss TXT more generally now, as I would like to mention what I think this means for the company and BTS.

1: Hopefully, Bighit will finally let BTS take breaks. We know BTS have toured many times and released music often, and it’s also obvious (with proof) that they’re overworked. They’re so professional, even when they are tired and exhausted (notably Jungkook), which shows how much they care about their fans. Granted, when the company needed revenue, that would be a little easier to judge, but Bighit is no longer in dire straits. Every member of the group is just as human as the next person, and they need to relax; RM himself has stated that they enjoy doing what they do, but still get exhausted. That’s just normal human behaviour. In ‘Burn the Stage’, you see more raw moments that normally happen off-camera, including arguments between members and moments of physical exhaustion. If we are to take these developments as they are and believe every word of it, then it’s fair to say they’re really tired. With that said, I hope TXT is managed well, promoted well, treated well, and given attention as the new group. It means TXT can be maintained and have presence in the industry’s foreground, while also allowing BTS to take time off. I say that without knowing all the technicalities about idol management, but my hope is TXT didn’t debut for no reason and BTS is overworked all the same. I know BTS is releasing a new album in April, which I am excited for, but do worry they just aren’t getting the rest they deserve.

2: BTS will remain popular as TXT breaks in, so I’m not concerned whether BTS will lose relevancy or not. With the hope that Bighit will let BTS get some rest from promotions and touring, I think BTS is comfortable where they stand. There is no doubt about their fame as I mentioned before, and maybe their name might help boost interest for people considering TXT’s music (having a company name that people know is fairly effective, and how I learned about groups like (g)-idle, who are labelmates of CLC, who were labelmates to the former group 4Minute and successor girl group). I mentioned how I was worried TXT would be compared too much to BTS, but I think there are still positives in that relationship. What I would love to see is whether BTS members mentor the new group, like RM or Suga helping with music producing and such (hearing RM’s demos shows how talented he is). A closeness between the two groups would be ideal, which brings me to my next point specifically on the company.

3: Bighit entertainment has a problem, and could potentially become a part of a greater one if it becomes a big entertainment company like the Big 3. This is where I diverge from solely talking about TXT and BTS to run down what this means for Bighit. As I’ve grown up with Kpop, I’ve learned about the good, the bad, the sad, and the ugly. I personally think having that kind of journey is both unique and the kind you need to experience organically; it’s okay to start off as a casual listener in the process of becoming a fan, but it’s still important to recognize at a certain point that the industry isn’t exactly perfect, or that groups can be good without validation or comparison. Some of my favourite groups are managed mostly by the Big 3, all three companies that have their own controversies and problematic programs. JYP overworks his best selling girl group (and best selling group for that matter) TWICE in the same way Bighit does to BTS, but that’s just one of the layers on this problem cake. I won’t go into the details of the scandal, but once upon a time Bighit had a girl group. After such scandals (one member a saesang, another an actual felon) happened, it became a thing of the past and something most people don’t know about. Bighit doesn’t take female trainees, and even in the time BTS trained, they couldn’t interact with the female trainees that were once there. The reason I point this out is because there is no female group in the company, Bighit cannot enter the league of the Big 3. All three have (or had) groups like SNSD, Red Velvet, f(x), Blackpink, 2NE1, Twice, Wonder Girls, the list goes on. The way these groups have and are being treated have its pros and cons, but nonetheless are being managed. This lack of female idols in Bighit is a huge gap in revenue; sure, they might have more money than c. 2012 Bighit, but one group cannot help a company become as influential as SM or JYP. To summarize, the first problem Bighit has is the fact that there are no female idols or groups, which chops down any potential influence in the industry and diversity in music (since girl groups are endorsed differently and allow for concepts that boy groups can’t necessarily try). TXT isn’t bad for being a boy group, but the reason I hope for a good relationship between BTS and TXT is because they will be allowed to interact (that sounds so dumb, why isn’t this a given). Not having a girl group lacks diversity in the sounds, and that could be to Bighit’s detriment.

Next, I wanted to go over what could happen to Bighit now that they have another group to manage. I’ll save a lot of these topics for future posts, but as I said, the Big 3 have had controversies over the years, and even smaller companies have had their problems. Considering the weight loss programs many companies enforce on their groups and general abuse of power (lawsuits from EXO’s former members Tao, Luhan, Kris related to overworking), as well as dating scandals (former CUBE artists Hyuna and E’dawn), being a big entertainment company also generally has connections to problematic incidents. What the concern here is is whether Bighit is inclined to do what other companies tend to do to their artists when they have multiple artists to juggle. Take PLEDIS entertainment as an example; they’re not among the Big 3, but they manage groups like SEVENTEEN, Pristin, the subunit Pristin V, and SF9. Pristin debuted in 2016, and haven’t had any comebacks since ‘We Like’ in 2017. They were given lots of dance practice teasers like Blackpink before they officially debuted as Pristin (some members came from Produce 101 and the one-year group I.O.I), but they’ve basically disappeared as a collective. SEVENTEEN, on the other hand, just had a comeback in January, garnering lots of sales, and continue to promote and write their own music. Granted, SEVENTEEN is slightly senior to Pristin, but it’s easy to see they’re being managed a lot better than their sister group. That’s the sad part, because SEVENTEEN members would even do dance practices with them, and the members of Pristin are quite talented. Problems like this are much easier to find in smaller entertainment companies, and Bighit, with the debut of TXT, are finally entering that ring. That means that they might continue to let their artists have autonomy (ex. RM and Suga), or end up potentially mistreating their idols. I am not saying they will, but only that the concern is now more warranted.

4: The success of TXT will ultimately determine what kind of company Bighit truly is. Here’s the thing. The quality of many entertainment companies are determined by the way they manage, promote, and support their idols. JYP is considered the best among the Big 3 because the idols seem to be close with their labelmates, they micromanage to almost program success, groups are unique in concepts and member diversity (DAY6 compared to GOT7, where both groups have strong English speakers, TWICE compared to older group Wonder Girls and newer group ITZY), etc., but that’s also up for debate. BTS has had a couple problems in terms of lyrics, outfits, comments made in interviews, but have addressed many if not all of these issues. What’s good is that both Bighit and RM will issue apology statements, which means we get both sides of the story and that there is at least a level of respect between the group and CEO. That alone doesn’t reveal enough about the CEO or company though. I’m not saying this to be hypercritical, nor believe everyone should think about this kind of thing when listening to music by a Kpop group; the point is, at least for me, knowing the state the idols are in, because often idols don’t get much control over what they do and could be overworked behind the scenes. They have to pay back the companies for the training and other privileges granted, and even those conditions may not be the best; well-known companies are more transparent nowadays because we see how everyone else is managed, but that’s not the case for BTS or Bighit.

If TXT succeeds in a similar fashion that BTS did, that may open up the playing field for Bighit. Maybe they’ll bring back female trainees, and possibly expand the number of groups they manage if revenue begins to come in steadily. The reason Bighit hasn’t been able to enter the stratum where the Big 3 sit is because they only had one avenue for revenue (BTS), until now. Bighit borders on young as an entertainment company (established in early 2000s), so the company not only lacks the number of years the other ones had to experiment (like SM), alongside the problem of no diversity as a company. To conclude, TXT’s promotions and journey as Bighit’s new group will determine whether Bighit is a problematic company or not, because we will now have another group to see being managed and promoted. We have the precedent of BTS, and I personally hope TXT isn’t mistreated.

Conclusion? This took way too long to write, but I think when I’m considering the prospect of TXT, I’ve considered what it means on grander scales too. The reason it’s worth noting TXT’s debut is for all reasons mentioned; what it means for Bighit, BTS, and TXT themselves. All in all, I’m going to listen to more of TXT’s music and see what the future holds for them, since I see potential in the group’s success and potential for them to be engaging as idols.

#TXT #review #rant #analysis #kpop #kpop industry #music #BTS #RM #Suga #J-hope #Jimin #Jin #Jungkook #V #discussion #thoughts #soobin #yeonjun #beomgyu #hueningkai #taehyun

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rubyjcat · 6 years

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Shuta Sueyoshi / 「秒針 Re:time」”Byoushin Re:time” - English Translation

末吉秀太 – 秒針 Re:time Romaji: Byoushin Re:time Eng Name: Second Hand Re:time

Release date: 2017/10/27 Album: Jack In the Box Language: Japanese

Official Music Video 🕟 iTunes

Source: Info, Kanji & Romaji Japanese Lyrics

Japanese Romaji (modified)

yaburi totta NOTTO no haji tsuzutta negai kawaranaide kawaranaide kono mama de isasete demo tokei no hari wa dandan to toki wo kizami bokura no omoi made kaete shimatta nee

kimi ga tsuita chiisana uso hontou no imi to yasashisa ni kizukenai boku wa yowa sugite chiguhagu ZURE-teku futari no kokoro CHIKUTAKU tokei wa kawarazu susumi

kimi no KAKERA atsumeta GOMI-bako kakae ugokenai aa

sayonara mada saigo ni kureta namida to egao ga mabuta kogashiteru semete byoushin Re:time kimi ga afureta heya ni kagi wo kakete

waraiatte kaita rakugaki ni nomikonda kotoba akikan ni tsumekonda boku no tameiki haa

kirai girai kirai da konna jibun ga KIRA KIRA egao wa mahou no you ni

kimi wo noseta hibi wa POKETTO ni toki wa ugokidasu aa

kono mama tada kokoro wo tsumuide eranda mirai wa mada kasumu you de tokete nijinde iku sora ni kakureta hoshi ni negai wo kakete

sayonara mada saigo ni kureta namida to egao ga mabuta kogashiteru semete byoushin Re:time kimi ga afureta heya ni

kono mama tada kokoro wo tsumuide eranda mirai wa mada kasumu you de tokete nijinde iku sora ni kakureta hoshi ni negai wo kakete

English Translation

Tore out the ends of the notebook the wish I spelled out "Do not change, do not change Let it stay this way" But the clock hands gradually tick with time Until our feelings completely changed, right?

You told a small lie I could not recognize the truth’s meaning and gentleness I am too weak Mismatched two hearts are being out of sync Tick Tock the clock does not progress

The dustbin that accumulated your fragments By holding onto you I can’t move ahh

Goodbyes were still given in the end Your tears and smiles are burning my eyelids At least the second hand Re:time You overflowed the room I locked away

Laughed and drew graffiti Swallowed my words Squeezed out from the empty cans My sigh (hah)

I hate, I hate, I hate myself like this Sparkling, sparkling, your smiling face is like magic

I placed you into my pocket day after day Time will start to move ahh

Just like this, my heart spins The future I chose has yet to appear blurry It is dissolving, and continues flowing I make a wish upon a star hidden in the sky

Goodbyes were still given in the end Your tears and smiles are burning my eyelids At least the second hand Re:time You overflowed the room

Just like this, my heart spins The future I chose has yet to appear blurry It is dissolving, and continues flowing I make a wish upon a star hidden in the sky

Image Ver.

Translation Notes:

Feel free to use it (credit would be appreciated). This is a fanmade, manually translated version. ^.^ Found a mistake? Let me know??

🕐 How fluent are you with Japanese?: Not fluent, though I started attempting to learn Japanese more seriously late this year, such as reading Kanji and radical searching. Resources used were a Kanji handbook, jisho.org, many websites explaining translation, grammar, conjugation, etc., and English translations of other Japanese lyrics. Inspirations include vgperson and of course, AAA :) Ok not absolutely qualified, well I did call it a fanmade translation

🕑 Difficulties?: I made LOTS of edits before finalizing this. Fun fact: I first started this translation on Nov 24, 2017. The parts I had trouble with include:

「tsuzutta negai」 as I initially thought it was “I wished to spell out” but realised tsuzutta “describes” the action of the noun negai (it’s called a relative clause verb or something). It may not always be the case though. A similar case appears with 「atsumeta gomibako」 and 「eranda mirai」. I included “I” in the respective phrases depending on the context.

「kogashiteru」 because I confused it for two different meanings (”yearn for, be in love” / “burn”) that share the same Kanji. It seems like “yearn for” would fit this kind of song better, but the conjugation I found for this was “te-form + iru”, and only kogashite + iru “to burn” fits this conjugation (as ”yearn for” would be kogarete + iru). It could be interpreted as “the images of you burning when I close my eyes (eyelids)”. It does seem to fit in with the previous phrase, showing how that painful memory of saying goodbye is recalled in the present. If it was “yearn for”, then I would translate it as “My/Your/The tears and smiles yearn (for) eyelids” which doesn’t make much sense.

「sayonara mada saigo ni kureta」. I got confused whether mada was positive (still) or negative (not yet) and also wondered if it affected the noun saigo or the verb kureta (or both). This one should be positive because the verb isn’t in negative form. Then there’s always the aspect of lack of pronouns. I would interpret it as “we”, but I ended up with not using pronouns here as it is ambiguous. Instead I pluralized “goodbye” which doesn’t necessaily have to mean “we”.

日本語はまだ話さないよ！

🕒 Why did you do this?: Because I wanted to ^.^ I love AAA and Shuuty is my favourite member of the band. After falling in love hearing this song, I simply wanted to know what he was singing about. ^^ I used to not care very much to learn the meaning of J-lyrics.

🕓 What do you think about Byoushin Re:time?: His voice melts me <3 It’s a beautiful yet simple song with a calm and heartwarming melody and emotive lyrics. Has a bit of a ‘winter feel’ to it (must be the strings). It turned out to be a sad yet hopeful song about coping with a (drama-free) breakup. I like its use of time stopping when dealing with the breakup and starting again when moving on.

秀太くん、美しい歌をくれてありがとうございます。

I am aware that there must be other people to compose, write lyrics and whatnot, but I don’t know who else helped make the song. Thanks avex for publishing?

Lyrics-wise, I like the wordplay parts. xD chiguhagu and CHIKUTAKU, kirai girai and KIRA KIRA, nomikonda and tsumekonda... and perhaps other less obvious ones.

Here’s my retelling of the story:

Two people are in a relationship (henceforth labelled X & Y). Our person, X, wanted their relationship with Y to stay as it is, but with time it was destined to be doomed. It started with a lie from Y meant to be harmless, but X couldn’t see past the “joke” (perhaps our person has low self-esteem). X and Y slowly became distant. Breakup ensues. X threw away the things reminding them of Y. But it’s hard to move on. Recalling the moment when they said goodbye is painful... when X closes their eyes, they can still see Y’s tears and smiles from that day. But all of it is now only of the past - the clock plays these memories over and over again [Re:time]. X locked away the place filled with memories of Y. That place happens to be the clock, so that’s why time has stopped. X is now sad and hates themself in their current state, which contrasts with X recalling how beautiful Y’s smile was. Since they can’t forget about Y just yet, they kept a memento of Y with them (maybe dug up from the trash), day after day... Time will start to move again as the memories become unlocked. X now keeps the memories of Y in their heart for the better instead of bringing about all the negatives. They can still see a future; the world goes on. All the memories are flowing out of the clock. They make a wish... Perhaps time will tell again if X and Y’s relationship really was not meant to be, or if they might actually reunite one day.

🕔 Are you gonna do anything else?: Yes. I translated this with intentions of doing an English cover (English translyrics = WIP). I’m gonna do it because I love the song and I don’t care if no one else has heard of the song !! (ง ≧o≦)ง For other translations, I only plan to translate and cover one more AAA song. Not sure yet about future singles (as there will always be other fans to translate). Regardless, I am not accepting requests.

読みました、ありがとうございます。

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clubofinfo · 6 years

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Expert: Back in the heyday of the old Soviet Union, a phrase evolved to describe gullible western intellectuals who came to visit Russia and failed to notice the human and other costs of building a communist utopia. The phrase was “useful idiots” and it applied to a good many people who should have known better. I now propose a new, analogous term more appropriate for the age in which we live: useful hypocrites. That’s you and me, folks, and it’s how the masters of the digital universe see us. And they have pretty good reasons for seeing us that way. They hear us whingeing about privacy, security, surveillance, etc., but notice that despite our complaints and suspicions, we appear to do nothing about it. In other words, we say one thing and do another, which is as good a working definition of hypocrisy as one could hope for. — John Naughton, The Guardian “Who needs direct repression,” asked philosopher Slavoj Zizek, “when one can convince the chicken to walk freely into the slaughterhouse?” In an Orwellian age where war equals peace, surveillance equals safety, and tolerance equals intolerance of uncomfortable truths and politically incorrect ideas, “we the people” have gotten very good at walking freely into the slaughterhouse, all the while convincing ourselves that the prison walls enclosing us within the American police state are there for our protection. Call it doublespeak, call it hypocrisy, call it delusion, call it whatever you like, but the fact remains that while we claim to value freedom, privacy, individuality, equality, diversity, accountability, and government transparency, our actions and those of our government rulers contradict these much-vaunted principles at every turn. For instance, we claim to disdain the jaded mindset of the Washington elite, and yet we continue to re-elect politicians who lie, cheat and steal. We claim to disapprove of the endless wars that drain our resources and spread thin our military, and yet we repeatedly buy into the idea that patriotism equals supporting the military. We claim to chafe at taxpayer-funded pork barrel legislation for roads to nowhere, documentaries on food fights, and studies of mountain lions running on treadmills, and yet we pay our taxes meekly and without raising a fuss of any kind. We claim to object to the militarization of our local police forces and their increasingly battlefield mindset, and yet we do little more than shrug our shoulders over SWAT team raids and police shootings of unarmed citizens. And then there’s our supposed love-hate affair with technology, which sees us bristling at the government’s efforts to monitor our internet activities, listen in on our phone calls, read our emails, track our every movement, and punish us for what we say on social media, and yet we keep using these very same technologies all the while doing nothing about the government’s encroachments on our rights. This contradiction is backed up by a Pew Research Center study, which finds that “Americans say they are deeply concerned about privacy on the web and their cellphones. They say they do not trust Internet companies or the government to protect it. Yet they keep using the services and handing over their personal information.” Let me get this straight: the government continues to betray our trust, invade our privacy, and abuse our rights, and we keep going back for more? Sure we do. After all, the alternative—taking a stand, raising a ruckus, demanding change, refusing to cooperate, engaging in civil disobedience—is not only a lot of work but can be downright dangerous. What we fail to realize, however, is that by tacitly allowing these violations to continue, we not only empower the tyrant but we feed the monster. In this way, what starts off as small, occasional encroachments on our rights, justified in the name of greater safety, becomes routine, wide-ranging abuses so entrenched as to make reform all but impossible. We saw this happen with the police and their build-up of military arsenal, ostensibly to fight the war on drugs. The result: a transformation of America’s law enforcement agencies into extensions of the military, populated with battle-hardened soldiers who view “we the people” as enemy combatants. The same thing happened with the government’s so-called efforts to get tough on crime by passing endless laws outlawing all manner of activities. The result: an explosion of laws criminalizing everything from parenting decisions and fishing to gardening and living off the grid. And then there were the private prisons, marketed as a way to lower the government’s cost of locking up criminals. Only it turns out that private prisons actually cost the taxpayer more money and place profit incentives on jailing more Americans, resulting in the largest prison population in the world. Are you starting to notice a pattern yet? The government lures us in with a scheme to make our lives better, our families safer, and our communities more secure, and then once we buy into it, they slam the trap closed. It doesn’t matter whether you’re talking about red light cameras, DNA databases, surveillance cameras, or zero tolerance policies: they all result in “we the people” being turned into Enemy Number One. In this way, the government campaign to spy on our phone calls, letters and emails was sold to the American people as a necessary tool in the war on terror. Instead of targeting terrorists, however, the government has turned us into potential terrorists, so that if we dare say the wrong thing in a phone call, letter, email or on the internet, especially social media, we end up investigated, charged and possibly jailed. If you happen to be one of the 1.31 billion individuals who use Facebook or one of the 255 million who tweet their personal and political views on Twitter, you might want to pay close attention. This criminalization of free speech, which is exactly what the government’s prosecution of those who say the “wrong” thing using an electronic medium amounts to, was at the heart of Elonis v. United States, a case that wrestled with where the government can draw the line when it comes to expressive speech that is protected and permissible versus speech that could be interpreted as connoting a criminal intent. The case arose after Anthony Elonis, an aspiring rap artist, used personal material from his life as source material and inspiration for rap lyrics which he then shared on Facebook. For instance, shortly after Elonis’ wife left him and he was fired from his job, his lyrics included references to killing his ex-wife, shooting a classroom of kindergarten children, and blowing up an FBI agent who had opened an investigation into his postings. Despite the fact that Elonis routinely accompanied his Facebook posts with disclaimers that his lyrics were fictitious, and that he was using such writings as an outlet for his frustrations, he was charged with making unlawful threats (although it was never proven that he intended to threaten anyone) and sentenced to 44 months in jail. Elonis is not the only Facebook user to be targeted for prosecution based on the content of his posts. In a similar case that made its way through the courts only to be rebuffed by the Supreme Court, Brandon Raub, a decorated Marine, was arrested by a swarm of FBI, Secret Service agents and local police and forcibly detained in a psychiatric ward because of controversial song lyrics and political views posted on his Facebook page. He was eventually released after a circuit court judge dismissed the charges against him as unfounded. Rapper Jamal Knox and Rashee Beasley were sentenced to jail terms of up to six years for a YouTube video calling on listeners to “kill these cops ‘cause they don’t do us no good.” Although the rapper contended that he had no intention of bringing harm to the police, he was convicted of making terroristic threats and intimidation of witnesses. And then there was Franklin Delano Jeffries II, an Iraq war veteran, who, in the midst of a contentious custody battle for his daughter, shared a music video on YouTube and Facebook in which he sings about the judge in his case, “Take my child and I’ll take your life.” Despite his insistence that the lyrics were just a way for him to vent his frustrations with the legal battle, Jeffries was convicted of communicating threats and sentenced to 18 months in jail. The common thread running through all of these cases is the use of social media to voice frustration, grievances, and anger, sometimes using language that is overtly violent. The question the U.S. Supreme Court was asked to decide in Elonis is whether this activity, in the absence of any overt intention of committing a crime, rises to the level of a “true threat” or whether it is, as I would contend, protected First Amendment activity. (The Supreme Court has defined a “true threat” as “statements where the speaker means to communicate a serious expression of an intent to commit an act of unlawful violence to a particular individual or group of individuals.”) In an 8-1 decision that concerned itself more with “criminal-law principles concerning intent rather than the First Amendment’s protection of free speech,” the Court ruled that prosecutors had not proven that Elonis intended to harm anyone beyond the words he used and context. That was three years ago. Despite the Supreme Court’s ruling in Elonis, Corporate America has now taken the lead in policing expressive activity online, with social media giants such as Facebook, Twitter and YouTube using their formidable dominance in the field to censor, penalize and regulate speech and behavior online by suspending and/or banning users whose content violated the companies’ so-called community standards for obscenity, violence, hate speech, discrimination, etc. Make no mistake: this is fascism. This is fascism with a smile. As Bertram Gross, former presidential advisor, noted in his chilling book Friendly Fascism: The New Face of Power in America: Anyone looking for black shirts, mass parties, or men on horseback will miss the telltale clues of creeping fascism. . . . In America, it would be super modern and multi-ethnic—as American as Madison Avenue, executive luncheons, credit cards, and apple pie. It would be fascism with a smile. As a warning against its cosmetic façade, subtle manipulation, and velvet gloves, I call it friendly fascism. What scares me most is its subtle appeal. The subtle appeal of this particular brand of fascism is its self-righteous claim to fighting the evils of our day (intolerance, hatred, violence) using the weapons of Corporate America. Be warned, however: it is only a matter of time before these weapons are used more broadly, taking aim at anything that stands in its quest for greater profit, control and power. This is what fascism looks like in a modern context, with corporations flexing their muscles to censor and silence expressive activity under the pretext that it is taking place within a private environment subject to corporate rules as opposed to activity that takes place within a public or government forum that might be subject to the First Amendment’s protection of “controversial” and/or politically incorrect speech. Alex Jones was just the beginning. Jones, the majordomo of conspiracy theorists who spawned an empire built on alternative news, was banned from Facebook for posting content that violates the social media site’s “Community Standards,” which prohibit posts that can be construed as bullying or hateful. According to The Washington Post, Twitter suspended over 70 million accounts over the course of two months to “reduce the flow of misinformation on the platform.” Among those temporarily suspended was Daniel McAdams, Executive Director of the Ron Paul Institute. Rightly contending that tech companies are just extensions of the government, former Texas congressman Ron Paul believes that social media networks under the control of Google, Apple, Twitter and Facebook are working with the U.S. government to silence dissent. “You get accused of treasonous activity and treasonous speech because in an empire of lies the truth is treason,” Paul declared. “Challenging the status quo is what they can’t stand and it unnerves them, so they have to silence people.” Curiously enough, you know who has yet to be suspended? President Trump. Twitter’s rationale for not suspending world leaders such as Trump, whom critics claim routinely violate the social media giant’s rules, is because “Blocking a world leader from Twitter or removing their controversial Tweets, would hide important information people should be able to see and debate. It would also not silence that leader, but it would certainly hamper necessary discussion around their words and actions.” Frankly, all individuals, whether or not they are world leaders, should be entitled to have their thoughts and ideas aired openly, pitted against those who might disagree with them, and debated widely, especially in a forum like the internet. Why does this matter? The internet and social media have taken the place of the historic public square, which has slowly been crowded out by shopping malls and parking lots. As such, these cyber “public squares” may be the only forum left for citizens to freely speak their minds and exercise their First Amendment rights, especially in the wake of legislation that limits access to our elected representatives. Unfortunately, the internet has become a tool for the government—and its corporate partners—to monitor, control and punish the populace for behavior and speech that may be controversial but are far from criminal. Indeed, the government, a master in the art of violence, intrusion, surveillance and criminalizing harmless activities, has repeatedly attempted to clamp down on First Amendment activity on the web and in social media under the various guises of fighting terrorism, discouraging cyberbullying, and combatting violence. Police and prosecutors have also targeted “anonymous” postings and messages on forums and websites, arguing that such anonymity encourages everything from cyber-bullying to terrorism, and have attempted to prosecute those who use anonymity for commercial or personal purposes. We would do well to tread cautiously in how much authority we give the Corporate Police State to criminalize free speech activities and chill what has become a vital free speech forum. Not only are social media and the Internet critical forums for individuals to freely share information and express their ideas, but they also serve as release valves to those who may be angry, seething, alienated or otherwise discontented. Without an outlet for their pent-up anger and frustration, these thoughts and emotions fester in secret, which is where most violent acts are born. In the same way, free speech in the public square—whether it’s the internet, the plaza in front of the U.S. Supreme Court or a college campus—brings people together to express their grievances and challenge oppressive government regimes. Without it, democracy becomes stagnant and atrophied. Likewise, as I make clear in my book Battlefield America: The War on the American People, if free speech is not vigilantly protected, democracy is more likely to drift toward fear, repression, and violence. In such a scenario, we will find ourselves threatened with an even more pernicious injury than violence itself: the loss of liberty. More speech, not less, is the remedy. http://clubof.info/

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thenewgrlsclub · 7 years

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Roger Waters in L.A. | Review and Synopsis

Published on August 27, 2017 by Charlotte Medina

I attended the Roger Waters’ “Us + Them” concert.

It was stunning.

Roger Waters is one of the leads and composers for legendary progressive rock band Pink Floyd. Their classic status and legacy are attributed to their psychedelic sound, poetic lyrics, and the intense visuals in their music videos and film (The Wall, 1982). Pink Floyd is best known for The Dark Side of the Moon, the album which launched them to international success.

The group hasn’t performed together since 1994, but Roger Waters has toured several times solo, performing songs from his solo albums as well as the Pink Floyd’s hits that he authored.

The Us + Them tour was first announced last year in mid-October after he performed in Mexico City. Waters shared a video on Facebook, performing Pigs (Three Different Ones) at El Zocalo (From the album Animals). It was then when I knew that if he was bringing the tour to the USA, I had to go.

I discovered Pink Floyd at a very important time in my life. I was advancing through my college years and after studying film theory during my second semester, I realized the importance of “meaning” within all art forms: the messages, the metaphors, etc. Of course, all of these tend to be subjective and often open to interpretation (I will be doing a follow-up article on this). Although I had listened to and enjoyed some of their music before, it wasn’t until I started looking into music and culture of the past that I rediscovered Pink Floyd and truly paid attention to their lyrics, which resonated with my experiences and reflected many of my societal views. Most of Pink Floyd’s songs are pretty dark, as they contain gloomy or politically critical themes. The latter is heavily emphasized on Roger Waters’ Us + Them tour.

My “Back Catalogue” (by Cohen/May/Thorgerson) fabric poster and my college senior self.

On Tuesday, June 27th, Roger Waters, along with the various talented musicians who accompanied him, performed at the Staples Center in Los Angeles. He had already performed the previous week twice, both with sold out shows (and this was an added date!). The line to enter the stadium was still long at 8 pm… I made it inside by 8:30 pm when he had just shown up on stage.

“Ahh! The concert will start soon! Hurry up, security check-in staff! We don’t want to miss out!”

The show opened with Speak To Me/Breathe, as I rushed through the hallway and VIP elevator. I heard One Of These Days playing as I was pacing quickly through the hallway, Looking for the right entrance to my seat. Along with my rushed rhythm, the song was the perfect soundtrack for the real life moment I was living. As I entered the stadium through the curtains, my entire being was in awe: there, inside a bowl lined with seats, twenty thousand people submerged in a mix of darkness and multi color spotlights, experienced the sound of Roger and band at the floor.

The concert proceeded with Time, an immortal and also very emotional classic. Next, The Great Gig In The Sky, accompanied by the vocals of Jess Wolfe and Holly Laessig, then the audience’s excitement sparked as video visuals of Welcome To The Machine played on the screen. I sang along to almost all of Wish You Were Here. (I’ve always had trouble memorizing lyrics, so I think about my own performance as a success…) It’s a beautiful song; it’s been rumored to have been written for Syd Barrett, one of Pink Floyd’s early years’ lead members.

Hanging screens “Danced” to the music by changing size to the rhythm, while colorful concert real-time footage was projected onto them. The attendees who were sitting straight ahead from the stage might have missed this!

Right after, the lights went off. We were submerged in darkness as the song duo that marked the success of The Wall’s album began; with a directed spotlight from the roof that emulated that of a helicopter’s, scanning the stadium, The Happiest Days of Our Lives began playing, everyone only being able to see giant Roger on the screen pointing to us “You! Yes, you! Stand still laddy.” With every beat of the song, a flash... Another Brick on The Wall began playing, with the crowd singing ardently. The lights are on now, revealing to us the band and a dozen of teens standing on the stage, wearing “jail-uniform” jumpsuits. During the instrumental, the teens took the jumpsuits off to reveal them wearing shirts with the word RESIST. Towards the end of the song, Roger added “I don’t need no walls around me. I don’t need no drugs to calm me. I have seen the writing on the wall. Don’t think I need anything at all. No, don’t think I need anything at all. All in all, you’re just bricks in the wall,” backed by characteristic capitalism symbols (mostly big-name brands) on the screen. With all the performers on stage raising their fist and with the screen displaying RESIST (ha, that rhymed), the song concludes and is followed by an intermission… (I honestly never imagined... big concerts have intermissions?! Ok, time to buy nachos and soda! Note how this intermission still contributed to capitalism. Oh, another rhyme!)

The audience’s attention was called back into the show as loud ambulance sirens lowered a large set of (tubes), from which a set of screens was raised. These topped with large, real steaming pipes: a factory, just like the one in the cover album Animals, was emulated through the cinematic power of projectors. Roger and band performed Dogs, and then… Pigs (Three Different Ones) begins playing. I believe I was the most thrilled attendee in the audience when its first chords strung as I screamed excited, wondering if an inflatable pig with graffiti would roll out for the people on the floor area. The mocking imagery of Donald Trump showed on screens, graphics of him, sometimes with Putin. “Haha, charade you are.” And then, during the instrumental, from behind the curtains a neatly crafted, inflatable really-big pig, with Trump’s face saying “I won!” printed, floated around the factory with the aid of drones. Towards the end of the song, each of the screens displayed the most absurd quotes said individual had mentioned during his campaign. The song ended to a massive applause and cheers.

“Hey you, White House: ha ha! charade you are...!” As imagery displays on the screens that compare Trump with dictator Hitler.

Then, an apparatus descended from above the stage while Eclipse played, and rainbow-colored lasers showered us, from the roof of the Staples Center all the way to the floor, and then remained static at then became white and remained static at the end of the song. Roger thanked the audience and cheered to us with champagne.

The money came right after. It opened with very capitalistic footage on the screens, but the best part was during the instrumental when the screens would change their length, kind of like bars on a boombox. With its soothing sound, Us And Them commenced, displaying modern yet artistic imagery of humans of all ethnicities, intertwined and taken over by two red hands trying to reach each other, but slowly fading away. This is a very sad and complicated song feels like a dark conversation about war, meant to be listened to critically.

From his new solo album, Is This The Life We Really Want?, Roger Waters performed Smell The Roses, which talks about how humans destroy beauty for money, creating war and the smell of explosives, instead of flowers. Then, Brain Damage began, with a very exciting performance: fog was released, adding a mystic ambience and the notes and lyrics of the song are heightened by the appearance of a laser pyramid traversed with lines, to resemble the art of Dark Side of the Moon’s cover, all while a giant silver ball floated through the stadium. The ball was aided by drones which filmed the fans on the floor and were simultaneously being displayed on the screen.

Roger Waters performing Brain Damage, in front of a laser pyramid, a floating silver ball, and a lot of loving fans.

Over original cinematic visuals The Wall’s tracks Vera, and Bring the Boys Back Home followed.

The ending of the concert was approaching, and we all knew the show couldn’t be over without said album’s number one track being performed: Comfortably Numb. Another one I almost know all the lyrics too! Everything about this performance was on point: the vocals, the instrumentals, and the famous guitar solo. The whole audience was moved. Behind me, a group of young friends was holding each other's’ hands in the air while singing and dancing. Comfortably Numb ended with lots of bright confetti raining towards us and the same image of the hands holding on the screen, this time holding and exuding shine, with colorful lasers gyrating from every side of the stage.

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Us + Them was an amazing show. I loved every part of the concert: the live music, vocals, original visuals, the scenography... Pink Floyd has always been known to put quite a show, and I’m sure Roger Waters takes deep pride in making his concerts as theatrical and spectacular to make justice to his powerful tunes. When Pigs (Three Different Ones) came up I must admit that, although this was the performance I had seen which made me excited to attend the concert in the first place, I couldn’t avoid thinking, just for a slight moment, that I wanted to be entertained for a couple of hours and escape from the current political nightmare we are living in. Although I had been aware months in advance about the main theme of Us + Them, I did want to disconnect from everything else happening outside the Staples Center for a night. But this feeling only lasted for a little bit, as I realized that we should not forget our truth and we must keep fighting, daily. Also, we must support artists who use their voice and talent to speak up loudly for us.

The tour was named, after all: Us + Them. Notice the plus sign. As in Hey You, my favorite song from The Wall (not performed in this tour) says: Together we stand, divided we fall. We should pay more attention to the message many songs have tried to teach us… Although these messages do not seem to make sense or even on the radar of people in power...

On a lighter note: a big shout out to Benjamin from the box office for assisting me on selecting a seat with a great view, and before the concert started! Although initially, I wanted to see the concert from the floor, I would have missed out on the majority of the visuals, as the dancing screens which later that resembled the factory was hanging right above it. All this leads me to give you some advice:

If possible, buy the tickets directly from the venue. I did and avoided online and shipping fees as I got them right in the spot.

If this is a big name band, expect a big show. Get seats that have a diagonal view from the stage. It has a better angle: you can see the crowd, the band, and the screens in full if any.

Get there early! Although most tickets are numbered for the seats, remember any proper venue will have security measures and checking in might take a little while.

Learn the venue’s rules and regulations. Although many of these are common sense, there are certain guidelines when it comes to attire and photographic equipment one must follow.

The Us + Them tour has wrapped in California, but take a look at Roger Waters’ official website to see if it’ll be coming to a city near you!

Successful night for the band! The fans’ excitement could be felt throughout the concert.

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konstantinwrites · 7 years

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Treasures from the Roof of the Insurmountable, Part 1

Small Worlds XI (Wassily Kandinsky)

Hi friends! So, I ranked all 42 songs of the 2017 Eurovision Song Contest. It was as simple as comparing each song to every other and missing every social event for a month. I didn’t give /10 scores and didn’t add a bunch of space between songs to signify gaps in quality, like a cool blog would. However, many generous friends of mine reviewed these songs as well. For an alternative, reasonable point of view, theirs is here.

I understand that asking to listen to 42 three-minute songs on the Internet should be reserved for astonishing lovers, but I hope that you’ll give them a play. The reviews are based primarily on the studio versions, linked in the title, but for fun I more strongly recommend the embedded live performances. This turned into an epic nine-parter only by luck -- Tumblr wisely halts this kind of obsessiveness by setting a limit of five embedded videos per post.

Anyway, I think you’ll like at least some songs. Not this next one, but some.

42: Spirit of the Night by Valentina Monetta and Jimmie Wilson (San Marino) (Returnee, Eurovision 2012, 2013, 2014)

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I will make a conscious effort not to embalm you in Eurovision completely, but I have to bend here since Valentina Monetta breaks all unwritten rules anyway. This was her fourth Eurovision appearance, all for the Most Serene Republic of San Marino, in six years. San Marino houses less people than you saw this weekend, sure, but there are probably a few other musicians in the country that would like a boost to their career.

Maybe some of them were on stage for 2012’s timely “The Social Network Song” (titled “The Facebook Song”, pre-zucc), with which Valentina began her pillage of this contest. (If you have patience for exactly one hyperlink...)

The lyrics incandesce:

Are you ready for a little chat?/And a song about the Internet It's a story ‘bout a social door/You’ve never seen before;

And the “Social Network” music video, all morning bedsheets and Safari browsing and wild leers into camera, is like the aftertaste of a burp from the dude who ran ARK Music Factory.

Throughout the last eon, the early to mid 2010′s, peace still ruled. It was underpinned by dark respect for the creature, and fear, but effective and true peace it was. In Year 3, Monetta qualified to the grand final. Appearing in that show was supposed to be the prologue to another Sammarinese age of serenity. Yes, she breathed too hard and accidentally set the Finnish commentators on fire, then threshed her wings and flew out through the arena roof. Human Eurovision performers have gimmicks, too. It was our Monetta, we prayed to her benevolence, and she made other countries and micronational principalities respect us as well.

But we grew tired of living in fear ourselves. If our Monetta was truly done with this world, we would be happy to raise a new generation in peace. Families waited to resettle back to their birth land, planning carefully. At dawn, sometimes, you noted the unsavory magicks in the distance, still discharging in the air. The tribe elders knew that kids were their most important constituency: every evening, a few fun rhymes with the kids that made each of the elders look silly; every forgathering, the children could run off after roll call. Irreverence and joy, with which the children played games on the hills, was as crucial as the considered warnings that the adults were made to hear.

Come spring, at the agora, Elder Dendroch took his deepest breath of the year, all wheeze, as he screwed in the VGA cable to the projector, casting the San Marino 2015 Eurovision artist announcement onto the smooth side of the hill. During the countdown, even All-Naked Christoph went silent. This was to determine his capacity to continue to gyrate himself around the fire each morning without being clawed by Monetta and thrown into the nearest cactus. Her swift retributions of All-Naked Christoph was one of the few Acts that the tribe was grateful for; however, now they yearned for calm and agency. They were ready to pay the price -- and cover their eyes at breakfast.

What a cheer, then. It was, indeed, someone else for 2015. The slothful bards were worth their silver on this day, spooling blunt limericks on the spot, tribesfolk teary with laughter. The eyes of all, awash with joy and soapy bubbles, feasted on daydreams about this new era. Resettling back to town, with everything as it has been (apart from the bread, now a furry green pet), we gleefully watched Anita Simoncini rap -- for we could scream, “No!”. The year after that, Serhat proselytized us, trying to make what sounded like, “I am a dick tit” happen. We loved telling him that it’s not going to happen, and besides, he was the neighboring queen’s chief accountant and she was not letting him out on any more trips like that. Our power was back.

But, well... You saw the rest. You saw 2017. Not even Mostly-Naked Christoph thought that eurodance would rise again. Not even the gloomiest of the kids ever had in mind that Monetta was always in control, and that there is nothing that we can ever do but point our projector at the stars.

“Spirit of the Night” is a dance anthem structured around a conversation between two horny and dim-witted patrons of a San Marino club. “Hey, are you the one I dream about?/Baby, I am.” After successfully capturing his target’s interest with this awful line, the man proceeds to use amateur pick-up artistry to delve into the murky depths of her insecurity. “Every time I see you smile/There is sadness in your eyes.”

Luckily for him, his quarry eats this obvious nonsense up. After connecting through dance, he seals the deal by revealing that he’s a hurt, insecure man who is in need of a woman to protect him. “Hey, are you the one to take my pain?/Just take my hand/I’ve been so hurt before, it’s hard to trust again.” Nonstop key changes and a reference to obscure weather phenomena attempt to mask the utter vacuity of “Spirit of the Night,” but nobody is fooled. 1/10.

Richard Hansen

41: Keep The Faith by Tamara Gachechiladze (Georgia)

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Ten seconds in, this has all the potential in our supercluster. It becomes “Keep The Faith”, but that moody horn-driven bar can lead into a Jay-Z track, a Antony and the Johnsons symphony, or the title screen of “Swordfish”. But it becomes “Keep The Faith”, and it’s a little awkward; I live and work in Georgia, and super enjoy this country.

However, this song is derivative garbage, devoid of any sensory pleasure. It has many siblings, songs of this type, all grey, parts-per-million pollutant specks. It’s a pure ballad and a very specific type of ballad, none of which have ever been enjoyable: pie-eyed on piano, throaty-vocaled, vowel-elongating, forcefully important, crudely pitch-raising, artless fat zeppelins of songs, avoiding melodiousness by purpose and not even by chance.

I like the few seconds in the bridge where Tamara and the backup singers go, “Oh - ohhh - oh! - ohhh!”, and I like the final string cadences, the last two notes in the song. I wish they’d signaled the end to something not so comprehensively dopey.

Please also let me just add here that I adore “Mzeo” by Mari Mamadashvili, the Georgian winner of Junior Eurovision 2016.

I’ve cried listening to it. I’ve showed her performance to many people. Don’t revoke my residence permit. Look at how much good stuff Billy wrote.

Having heard a plethora of Georgian music over the past year, I really didn’t have my hopes up going into this one. But I have to hand it to Tamriko, she may have actually pulled it off. The song’s video isn’t much to talk about, and I found the opening lyrics about hiding behind a veil and then panning to a woman in a hijab to be slightly off color, but the tune and subsequent lyrics are actually pretty cool. One might say the video had my sentiments shaken, but not stirred. That’s right, I referenced James Bond (Jamesi Bondi) and how could I not? The ominous violin, three-key piano repetition and horns - the song practically screams, “put us in the next movie!” and I happen to agree.

If we got rid of the whole weird hip-but-frowning aspect and replaced it with an unmistakable gun-toting secret agent silhouette, complete with tastefully nude female figurines, Georgia might actually have a hit on their hands. Don’t get me wrong, I am a big believer in letting music speak for itself and in many ways this song does, but at the end of the day it’s also a pop song and that music video HAS to be tight. Get this out to Eon Productions, Georgia; I’ll be disappointed if Ed Sheeran gets to do another title sequence.

As far as vocals go, Tamro fits the role pretty nicely - she can really belt it and it adds to the overall grandness of the song. As a matter of fact, grand is probably the word I would use to describe this. It’s the kind of song that makes you clench your fists and pump your arms dramatically and ceremoniously. Tamo’s powerful vocals and lyrics are engaging and entertaining; my only real worry is that with such a Bond-sounding song, people might have a difficult time seeing it as its own thing. Not to mention, if people dislike James Bond, they’re probably just going to see this as some hack interpretation of an Adele hit. While some might view it as lacking in theme originality, I see it as a distinguished work operating in a certain genre (a difficult one at that). I don’t think the sky will be falling on this song any time soon! Qochagh, Sakartvelo! 8/10.

Billy Moran

40: Gravity by Hovig (Cyprus)

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The lifetime of this adult contemporary rockvomit is: released to the suffering masses, all 4th grade boys for three days repeat-blast “Gravity” on the family speakers, then torrent Battlefield and yelp and chaotically shake their faces to its menu music and forget about “Gravity” forever. No other integration of this song into a human life can be permitted.

This wailing, free trial-distortion-effects, tragically detached one-dimensional nonsense would take aback a NHL video highlights editor, and they’re immune to this stuff. “Gravity” is for a montage of, like, a corrupted toothpaste factory, where the toothpaste is evil. There is something a little demonic with the toothpaste. It’s been breached. There are lich in the toothpaste, hiding themselves and their sorcery, and they now terrorize users of toothpaste all over the world. Only those who still use tooth powder have not yet turned. With this paragraph, I have now released more beauty into this world than the Cypriot entry. I’m not proud of putting lich and toothpaste together. I know I’ll answer for this one day. Sometimes you have to drive a point home.

This is a solidly made pop ballad with a catchy chorus that I could see getting good radio play for about two weeks before being promptly forgotten. While somewhat catchy on first listen, it quickly loses its appeal and you realize there is nothing more there than another over-produced pop song that makes oatmeal look plain and generic. This song is the definition of standard, meaningless pop. It's begging for some sort of edge to it, some sprinkles to go with its vanilla. As is, I'd much rather listen to “Hook” by Blues Travelers.

Ryan Haskell

39: Dying to Try by Brendan Murray (Ireland)

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I like Brendan’s voice. For 54 seconds, he makes a serviceable dyingtotry. I like that the first line of this Segway-speed ballad gets close to saying, “Take a leak of faith with me”. I like his tuneful delivery through the lightly layered first minute, and you could stroll to this and take sips of still water and feel correct.

Then the songwriters take out their game hunting rifles, trundle us into the basement and serve us a soup of impotent key change, never-ending chorus and string accompaniment, all of which we would spoon out of the dish in a less savage situation. You eat — you have to — belch, relax a bit, and then notice Brendan at the table, his meal long finished, as he mouths to you, “trying to die”.

As an American who grew up American, with American parents and American grandparents, I myself am American. That said, I definitely identify with the Irish a bit - they’re my ancestral roots and I root for the guys for sure. But I have to say, Brendan Murray, bud, you let me down. The song can be summed up in one word: boring. The kid looks to be about 15 and, sure, he has some pipes (little Irish pun there), but I have to believe these impressively high notes he’s hitting have more to do with his lack of pubic advancement and less with actual talent.

The music video takes us on the journey of love’s rocky road, complete with a daughter of Elrond and a poodle man that would make Dr. Moreau jealous. Perhaps I would have paid more attention to the lyrics if the featured couple were less visually jarring. I mean, the woman was fine… But the poodle man! That hair! There’s a million elf-y looking guys in Ireland to complement the girl, and they choose that guy!

My biggest complaint comes at the peak of the song’s rising action. Brian is walking through the grassy knolls of Ireland, as one does, and the viewer is treated to a beautiful melancholy landscape that just screams of Ireland. But instead of giving the listener something to complement the breathtaking view, we get a gospel choir harmony as Brian dives into his chorus. It was the perfect moment to incorporate cultural music - so poorly utilized by Israel - and Ireland missed it! If a lovely flute had accompanied Brian as the camera raced across the Irish shoreline back to our visually perplexing couple, I think I would have poured a shot of Jameson on the spot and shed a tear for all the struggling lovers in the emerald isle. Instead, the song loses its identity and all my invested interest is gone with it.

Brian, the wise fifteen-year-old he is, ever wary of love’s slings and arrows, tells us, “No one can promise that love will ever learn how to fly”, but I can promise Brian that his song won’t be flying to the top of any billboard charts. Maybe something a little more fun next year, huh Ireland? Sláinte! 4/10.

Billy Moran

38: My Turn by Martina Bárta (Czech Republic)

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The indifferently mute student can be the most frustrating. Staring at the arithmetic poster for two minutes at a time, boring with their pen more and more millimeters of their desk hole, finding the right moments to sip a hidden can of Fanta with the vigilance of a mosquito pursuing a meal from a human absentmindedly playing the Chrome dinosaur game -- apathetic students cause little obvious trouble in class. However, asked to contribute to any task, their monastic silence and translucency can drop a teacher’s command of the classroom to the floor. Other students, especially ones wavering between “kind of paying attention” and the Frowning Face With Open Mouth emoji, sense the student’s apathy, think that the lessons are, indeed, for nothing, and mentally teleport themselves out of there as well.

Which brings me to “My Turn”. It would be out of date during Pangaea, but out of date is very often fine. The prime disappointment is that it has a harmonious, sentimental melody to throw around, as most ballads do, but concretely refuses to get out of the hotel elevator, or the Saturday morning wine tasting. There are many piano works like these; it shouldn’t be an excuse to bunt and be another, especially because it’s got a pleasant tune. I’ve listened to “My Turn” at least 30 times and can recall the main progression with roughly the same clarity as remembering why Fletcher Christian mutinied and vamoosed to Pitcairn Island, the Wikipedia summary of which I probably read once, or maybe someone told me. Before going home, Teacher Eurovision will leave an inspirational message for Martina on her desk. “You can be different!” The next morning it’ll only be used with a shout of, “Kobe!” and be another clump a few feet from the trash basket.

Czech Republic’s Eurovision results, 2007 (debut) to 2017: 28th in a 28-song semifinal; 18th in a 19-song semifinal; 18th in a 18-song semifinal; Not participating for five years (understandably); 13th in a 17-song semifinal; 9th in a 18-song semifinal, 25th in a 26-song final; 13th in a 18-song semifinal.

Czech selection committee: just put a donk on it. You’ll like the results.

Not only did Ms. Martina choose to submit a song written in English to the Annual Eurovision Ritual, helping the beast of globalization devour her culture and language, but she also submitted a song with lyrics so boring that they flee from my mind immediately after I’ve heard them, as if Gilderoy Lockhart himself has just charmed them directly out of my cerebellum. Lyrics: 2/10.

Luckily, the music video itself is far more interesting than the song itself. I’m at least 80% sure this video depicts what people experience while rolling on Ecstasy. Nude bodies of various age and shape, writhing in ways that are at once harmonious and cacophonous. Here an old white man finds peace in a warm-towel embrace of a large black man. There a bald man hangs his head in his ultimate shame only to be comforted by an equally bald woman. At one point the bacchanalian dancers just all freeze and turn their heads sharply to one side, staring at the audience with eyes that contain something between abject misery and ultimate pleasure. Disturbing! Music video: 7/10. I found this video hilarious. Personal enjoyment: 9/10.

Cody Phillips

#eurovision #eurovision 2017

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