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iwanthermidnightz · 2 years

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Well hi.

I want to say thank you to Bart for introducing me in such a generous way and i want to say thank you to the NSAI for getting us all together for this event. For me, tonight feels brimming with a genuine camaraderie between a bunch of people who just love making stuff. Who love the craft. Who live for that rare, pure moment when a magical cloud floats down right in front of you in the form of an idea for a song, and all you have to do is grab it. Then shape it like clay. Prune it like a garden. And then wish on every lucky star or pray to whatever power you believe in that it might find its way out into the world and make someone feel seen, feel understood, feel joined in their grief or heartbreak or joy for just a moment.

I’ve learned by being in the entertainment industry for an extended period of time that this business operates with a very new, new, new, next, next, next mentality. For every artist or songwriter, we’re all just hoping to have one great year. One great album cycle. One great run at radio. And these days, one song that goes viral on TikTok. One glorious moment in the sun. Because on your next project you’ll probably have to invent a new thing to be. Think of all new things to say, and fresh ways to say them. You will have to entertain people. And the fact is that what entertains us is either seeing new artists emerge or established artists showing us a new side to themselves. If we are very, very lucky, life will say to us ‘your song is great’. The next thing life will say is ‘What else can you do?’

I say all of this because I’m up here receiving this beautiful award for a decade of work, and I can’t possibly explain how nice that feels. Because the way I see it, this is an award that celebrates a culmination of moments. Challenges. Gauntlets laid down. Albums I’m proud of. Triumphs. Strokes of luck or misfortune. Loud, embarrassing errors and the subsequent recovery from those mistakes, and the lessons learned from all of it. This award celebrates my family and my co-writers and my team. My friends and my fiercest fans and my harshest detractors and everyone who entered my life or left it. Because when it comes to my songwriting and my life, they are one in the same. As the great Nora Ephron once said, “Everything is copy.”

Twenty years ago I wrote my first song. I used to dream about one day getting to bounce around the different musical worlds of my various sonic influences, and change up the production of my albums. I hoped that one day, the blending of genres wouldn’t be such a big deal. There’s so much discussion about genre and it always usually leads back to a conversation about melody and production. But that leaves out possibly my favorite part of songwriting: lyricism.

And I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genres categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics, and Glitter Gel Pen Lyrics.

I know this sounds confusing but I’ll try to explain. I came up with these categories based on what writing tool I imagine having in my hand when I scribbled it down, figuratively. I don’t actually have a quill. Anymore. I broke it once when I was mad.

I categorize certain songs of mine in the ‘Quill’ style if the words and phrasings are antiquated, if I was inspired to write it after reading Charlotte Brontë or after watching a movie where everyone is wearing poet shirts and corsets. If my lyrics sound like a letter written by Emily Dickinson’s great grandmother while sewing a lace curtain, that’s me writing in the Quill genre. I will give you an example from one of my songs I’d categorize as Quill.

“How’s one to know

I’d meet you where the spirit meets the bones

In a faith forgotten land

In from the snow, your touch brought forth an incandescent glow

Tarnished but so grand”

Moving on to Lyricism category #2: Fountain Pen style. I’d say most of my lyrics fall into this category. Fountain pen style means a modern storyline or references, with a poetic twist. Taking a common phrase and flipping its meaning. Trying to paint a vivid picture of a situation, down to the chipped paint on the door frame and the incense dust on the vinyl shelf. Placing yourself and whoever is listening right there in the room where it all happened. The love, the loss, everything. The songs I categorize in this style sound like confessions scribbled and sealed in an envelope, but too brutally honest to ever send.

For Example:

“Cause there we are again in the middle of the night

We’re dancing round the kitchen in the refrigerator light

Down the stairs, I was there

I remember it all too well

And there we are again when nobody had to know

You kept me like a secret but I kept you like an oath

Sacred prayer, and we’d swear to remember it all too well”

The third category is called Glitter Gel Pen and it lives up to its name in every way. Frivolous, carefree, bouncy, syncopated perfectly to the beat. Glitter Gel Pen lyrics don’t care if you don’t take them seriously because they don’t take themselves seriously. Glitter Gel Pen lyrics are the drunk girl at the party who tells you that you look like an Angel in the bathroom. It’s what we need every once in a while in these fraught times in which we live.

Example: “my ex man brought his new girlfriend; she’s like ‘oh my god’ but I’m just gonna shake and to the fella over there with the hella good hair, won’t you come on over baby we can shake, shake, shake.”

Why did I make these categories, you ask? Because I love doing this thing we are fortunate enough to call a job. Writing songs is my life’s work and my hobby and my never-ending thrill. I am moved beyond words that you, my peers, decided to honor me in this way for work I’d still be doing if I had never been recognized for it.

Lately I’ve been on a joyride down memory lane. I’ve been re-recording my first six albums. When I go through the process of meticulously recreating each element of my past and revisiting songs I wrote when I was 13, 14, and 15, that path leads me right to music row. How my mom would pick me up from school and drive me to my co-writing sessions with dozens of writers (and some of you are in this very room tonight) who 15 years ago decided to give me their time, their wisdom, their belief before anyone thought writing with me was a productive use of an afternoon. I will never forget you, every last one of you.

Part of my re-recording process has included adding songs that never made the original albums, but songs I hated to leave behind. I’ve gone back and recorded a bunch of them for my version of my albums. Fearless, my version, came out last year and as I was choosing songs for it, I came across one I’d written with the Warren brothers when I was 14. I decided to record it as a duet with the brilliant Keith Urban. When I called the the Warrens up to tell them I was cutting our song 17 years after we’d written it, I’ll never forget the first thing they said. “Well, I think that’s the longest hold we’ve ever had.”

In 2011, just over ten years ago, my trusted collaborator and confidant Liz Rose came over to my apartment and I showed her a song I’d been working on. I was going through a rough time (as is the natural state of being 21) and had scribbled down verse after verse after verse, a song that was too long to put on an album. It clocked in at around 10 minutes. We set out editing, trimming, cutting out big sections until it was a reasonable 5 minutes and 30 seconds. It was called All Too Well. Last year when I re-recorded my 2012 album Red, I included this 10 minute version with its original verses and extra bridges. I never could’ve imagined when we wrote it that that song would be resurfacing ten years later or that I’d be about to play it for you tonight.

But a song can defy logic or time. A good song transports you to your truest feelings and translates those feelings for you. A good song stays with you even when people or feelings don’t. Writing songs is a calling and getting to call it your career makes you very lucky. You have to be grateful every day for it, and all the people who thought your words might be worth listening to. This town is the school that taught me that.

To be honored by you means more than any genre of my lyrics could ever say.

Thank you.

#taylor swift

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lithuilgreenleaf · 1 year

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Some people say Elvis was racist; this is false

Go to the bottom for summary (tl;dr)

I sometimes see some wrongly directed hate for Elvis and just want to try to clear it up. I’m a POC (half-black and half-Indian) and I’m not even a big fan of his, and I’m not saying he didn’t do some of whatever you accuse him of, but I don’t want people hating on others with misinformation.

Elvis was not racist. He never said anything racist, and he admired and respected black people.

The only two allegations on record that I can find against him of racism are these:

One magazine in 1957 started a rumor that Elvis Presley once said, “The only thing Ne**oes can do for me is buy my records and shine my shoes.” This claim was debunked and proven false when a black reporter, Louie Robinson, investigated. He interviewed Elvis, who declared, “I never said anything like that, and people who know me know that I wouldn't have said it.” Elvis had never even been to the place where the magazine claimed he said this quote. Robinson found no evidence that the remark had ever been made, and on the contrary elicited testimony from many individuals indicating that Presley was anything but racist, including black people who knew him since childhood and black artists who performed with him. After his investigation, Robinson concluded, "To Elvis people are people, regardless of race, color or creed." (link) (second link)

“Fight the Power” was a 1989 rap hit by Public Enemy, which had the lyrics, “Elvis was a hero to most / But he never meant shit to me / Straight-up racist that sucker was / Simple and plain / Motherfuck him and John Wayne” (John Wayne was actually racist). However, Chuck D, the singer and writer of the song, later clarified his lyric associating Elvis Presley with racism. In an interview with Newsday timed with the 25th anniversary of Presley's death, Chuck D acknowledged that Elvis was held in high esteem by black musicians, and that Elvis himself admired black musical performers. Chuck D stated that the target of his line about Elvis was the white culture which hailed Elvis as a "King" without acknowledging the black artists that came before him. (link)

One time, Quincy Jones claimed Elvis was racist, but he had never actually met Elvis. He said that a white performer named Tommy Dorsey told him Elvis was racist, after which Quincy Jones refused to work with Elvis. However, it is on record that Tommy Dorsey liked Elvis on a personal level. Quincy Jones also claimed that every time he saw Elvis, Elvis was being taught to sing by Otis Blackwell, a black composer. However, Otis Blackwell never met Elvis in his life (according to Otis himself). On top of this, Quincy Jones is known to have said some questionable things over the years. Also, Quincy Jones had state din 2002 that Elvis was one of the innovator’s of pop music.

Part of the reason Elvis is sometimes accused of racism is that much of his visual and musical performance came from African American sources. People say that he “stole” African American music, and then became known as the “King of Rock and Roll” despite the many African American performers that preceded him.

Elvis acknowledged his debt to African Americans throughout his career, such as when he stated, “A lot of people seem to think I started this business. But rock 'n' roll was here a long time before I came along. Nobody can sing that kind of music like colored people. Let's face it: I can't sing like Fats Domino can. I know that.”

Elvis never liked being called the “King of Rock and Roll”. It was a title forced on him by others. He believed the real “King of Rock and Roll” was Fats Domino.

The reason for his singing African American music was that he grew up in majority black community and he grew up listening to black music. He often broke segregation laws by attending black clubs (often with the help of musicians like Ike Turner) and watched black musicians perform. He loved attending all-night gospel singings at the Ellis Auditorium in Memphis. The performances he saw there are where he later took some of his dance moves and songs from.

Basically, the reason Elvis Presley sang songs by black people and performed in their style was because he liked and respected their music and style. It was his own music too, to him, because it was an integral part of his life.

Elvis always looked up to black musicians.

Once, he recalled how he would listen to Arthur “Big Boy” Crudup—the originator of "That's All Right"(which Elvis later did a cover of)—”bang his box the way I do now, and I said if I ever got to the place where I could feel all old Arthur felt, I'd be a music man like nobody ever saw.”

Once, surrounded by the Las Vegas press, Elvis was asked a question by a reporter who referred to him by his common moniker: “the king.” Rather than accept the title and all the praise that would come along with it, Elvis alerted the media of Fats Domino’s presence in the room. “No, that’s the real King of Rock ‘n’ Roll,” Elvis said.

Elvis also expressed much love for Sister Rosetta Tharpe.

One time, Elvis refused to perform a concert when the organizers refused to allow the Sweet Inspirations (Elvis’s black female backup group) to perform with him. Elvis only agreed to perform once the organizers said the Sweet Inspirations could perform with him.

Black musicians admired Elvis right back.

B.B. King ("The King of the Blues"), who maintained a friendship with Elvis throughout his life, said of him, “Let me tell you the definitive truth about Elvis Presley and racism. With Elvis, there was not a single drop of racism in that man. And when I say that, believe me I should know”. King wrote in Elvis’s defense, “Elvis didn’t steal any music from anyone. He just had his own interpretation of the music he’d grown up on, same is true for everyone. I think Elvis had integrity.” Presley also helped King land gigs, overcoming racism.

Little Richard was also friends with Elvis. Although eh pointed out that Presley’s whiteness helped his career, he did say, “I love him. That’s my buddy, my baby. Elvis is one of the greatest performers who ever lived in this world.”

"Elvis created a new style all his own, and gave an injection to black music like no other artist had ever done." - Rufus Thomas.

Sammy Davis Jr said of Elvis, “I have a respect for Elvis and my friendship. It ain't my business what he did in private. The only thing I want to know is, 'Was he my friend?', 'Did I enjoy him as a performer?', 'Did he give the world of entertainment something?' - and the answer is YES on all accounts. The other jazz just don't matter.” He also said, “Early on somebody told me that Elvis was black. And I said 'No, he's white but he's down-home'. And that is what it's all about. Not being black or white it's being 'down-home' and which part of down-home you come from.”

James Brown once wrote, “I wasn't just a fan, I was his brother. He said I was good and I said he was good; we never argued about that. Elvis was a hard worker, dedicated, and God loved him ... I love him and hope to see him in heaven. There'll never be another like that soul brother.”

Muhammad Ali admired Elvis. “When I was 15 years old and saw Elvis on TV, I wanted to be Elvis,” said Ali. “Other kids in the neighborhood were listening to Ray Charles and James Brown, but I listened to Elvis. I admired him so much and I decided that if I was going to be famous, I’d do it just like him. He’s one of the reasons I wanted to entertain people and be loved by the people and make the girls admire me so much.” He later developed a friendship with Elvis.

There is evidence Elvis donated money to civil rights organizations. (link) (and charitable organizations)

tl;dr Elvis wasn’t racist, and he had no intention fo stealing music. He thought he was just another singer of those genres of music which he admired. He didn’t even think he was that good. He believed there were many black singers much better than him. He credited black people as the sources of the music he performed, and never thought he was king of anything. He loved, respected, and was inspired by black performers, and many of them loved him back.

The fact that interpreting black people’s music made Elvis more rich and famous than black performers was mostly the fault of the racist white public. He appreciated black music and black performers, who were role models to him, while the white public refused to listen to black people’s music unless it was performed by a white person. He did try to use his success to help black performers break racial barriers though, and his success did open the door for black performers to gain access to the mainstream public.

tl;dr again: Elvis had a sincere affection for gospel, soul, and R&B, and a willingness to acknowledge his debt to the African-American musicians who had influenced him.

Elvis had problems, but being racist wasn’t one of them.

If you hate him for other reasons, that’s fine.

#elvis #elvis presley #essay #elvis was not racist #elvis had problems but not racism #elvis lovers #elvis haters #elvis essay #racism #wrongly accused #wrong #providing facts

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paramorearchived · 2 months

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March 24, 2013

Transcript:

perspective

This will be the last of the lyric posts until the album comes! There's going to be a lot of exciting stuff happening this week so I promise that the time will fly by! Thanks for coming here to read the tiniest preview of some of the songs off our album. The guys and I are all but bursting at the seams with pride and excitement for this record to come out. Thank God.

It's hard to believe that almost a year ago, exactly, we moved out to LA to finish writing/start recording our Self Titled album. The few months before that were a weird time for me, personally. I was battling the present and just constantly trying to figure out how to get to whatever was going to be next. It's funny how life goes cause then you start to look back at a time that felt really difficult and realize it was one of the most beautiful times in your whole life. The last two years were strange and hard and I learned a lot... but it was easily one of the most amazing, most peaceful times of my life. When I talk to people about it, I refer to last Spring/Summer as a "golden moment" that sparked so much growth and necessary healing. Funny I didn't recognize how perfect it actually was when I was living it. We all need a little perspective sometimes. To stand back and really get what we're right in the middle of.

Last January, I sat up in bed one morning and sang out the chorus to a song that, for pretty obvious reasons, we called "Daydreaming". I've never been the kind of writer to do that. There are like a billion episodes of Behind The Music where the artist talks about writing a song in their sleep... waking up and putting it down on paper before they go back to bed... or some of them just get right up and get to work finishing it. That's just never been me, though I always wished it was. This particular morning, however, I woke up and from somewhere deep in my head or heart or wherever songs come from... it just came out like word vomit. Later that day I went to Taylor's and showed him. Eventually the song kind of finished itself.

Looking back on the months before we moved to California, I was having the worst time just getting through my daily life. I didn't want to see anyone I knew in Nashville. I felt lonely and sad and a little hurt. For whatever reason I just felt like there was more out there for me but it wasn't wherever I was. Not "more" as in success, or any type of worldly gain... but I just felt like my heart should be happier. I was constantly dreaming up a brighter life in my head. Trying to figure out what to do to get there. When we moved to LA, even the physical act of getting away wasn't really helping. At that point, I felt completely lost. If I was this far away from my problems and I still felt alone and down... then where could I go to feel any less alone? It took a few weeks. It took getting up every morning and just deciding I was right where I needed to be. It took singing "Daydreaming" out loud in front of a mic in the studio and turning it into a reality. Now I look back at that season of my life with such a deep nostalgia. Growing pains sometimes hurt like heartache. In the moments that you feel change happening and you feel your heart, mind, body and soul resisting it with all your might, try not resisting for only a moment. Go with it, even! It's like that quote I've always loved by Anias Nin... "And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom". Don't miss a chance to move forward. Daydream a little. Don't be scared to embrace the way that it hurts just to grow. You'll look back and your heart will thank you for not standing still when what you needed the most was to move forward.

"Living in a city of sleepless people Who all know the limits and won't go too far outside the lines Cause they're' out of their minds. I wanna get out and build my own home On a street where reality is not much different from dreams I've had A dream is all I have...

Daydreaming Daydreaming all the time Daydreaming Daydreaming into the night And I'm alright

Creep past the hours like the shorter hand on the clock hanging on a wall of a schoolhouse somewhere We wait for the bell And we dream of somewhere else

Daydreaming Daydreaming all the time Daydreaming Daydreaming into the night And I'm alright

Not that I won't remember where I'm from Just don't wanna be here no more It's not enough (We're only half alive) I'm gonna go (We're only half alive) Where the rest of the dreamers go

Where the dreamers go

Daydreaming Daydreaming all the time Daydreaming Daydreaming into the night And I'm alright

Daydreaming Daydreaming all the time Daydreamer We used to be half alive Now I'm alright"

Surprise! There's the whole song's worth...

-hayley

#paramore #hayley williams #self titled #2013 #livejournal #daydreaming

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le-duo · 2 years

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NSAI 2022 speech

Well hi.

I want to say thank you to [Bart Herbison, the NSAI’s executive director] for introducing me in such a generous way and I want to say thank you to the NSAI for getting us all together for this event. For me, tonight feels brimming with a genuine camaraderie between a bunch of people who just love making stuff. Who love the craft. Who live for that rare, pure moment when a magical cloud floats down right in front of you in the form of an idea for a song, and all you have to do is grab it. Then shape it like clay. Prune it like a garden. And then wish on every lucky star or pray to whatever power you believe in that it might find its way out into the world and make someone feel seen, feel understood, feel joined in their grief or heartbreak or joy for just a moment.

20 years ago I wrote my first song. I used to dream about one day getting to bounce around the different musical worlds of my various sonic influences, and change up the production of my albums. I hoped that one day, the blending of genres wouldn’t be such a big deal. There’s so much discussion about genre and it always usually leads back to a conversation about melody and production. But that leaves out possibly my favorite part of songwriting: lyricism.

“How’s one to know

I’d meet you where the spirit meets the bones

In a faith forgotten land

In from the snow, your touch brought forth an incandescent glow

Tarnished but so grand”

For Example:

“Cause there we are again in the middle of the night

We’re dancing round the kitchen in the refrigerator light

Down the stairs, I was there

I remember it all too well

And there we are again when nobody had to know

You kept me like a secret but I kept you like an oath

Sacred prayer, and we’d swear to remember it all too well “

Example:

“My ex man brought his new girlfriend; she’s like ‘oh my god’ but I’m just gonna shake and to the fella over there with the hella good hair, won’t you come on over baby we can shake, shake, shake.”

To be honored by you means more than any genre of my lyrics could ever say.

Thank you.

#nsai awards 2022 #nsai 2022

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what-is-love-babey-dont-hurt-me · 3 years

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Connections between the Orange Side and Patton: Theory Talk

I’ve talked about this before, but it’s been a while. Update time!

For those who aren’t familiar, the idea of the Orange Side was popularized by the Color Wheel/Rainbow Theory, which generally agreed there would be one Side for each color of the rainbow. In some versions, Sides with complimentary colors would be “opposites”, though foils might be a more accurate. We already have most of the rainbow. Logically, the next side would be Orange. A lot of people assumed either Logan or Roman would turn into a dark side, or the Orange side would be tied to Logan somehow, but evidence supports something else. So far, any known or possible hints connect the unknown Side with Patton.

(By the way, this is all to my knowledge. I might not know every hint but this is a comprehensive list of the ones I caught.)

1.) The Family Tree

In Logic v. Passion, Roman made up a family tree that seems fantastical at first glance. While we can discard the marriages (indicated by the bottom lines) having any cedibility, the lines on the family tree are still important. The higher up lines imply sibling relationships. They let us know ahead of time that Roman had a sibling of some sort.

It does the same for Patton.

2.) 07734

The first actual solid evidence that there even is an Orange Side (and that the Orange Side would be one of The Others) came from two places in Putting Others First. On the thumbnail of the video, there was a blank player slot.

And then later in the video we got a greeting from them.

Throughout the video, Remus and Virgil both left small messages — reminders that although a side may not be in a video, they are still parts of Thomas — and then we get this. The orange numbers 07734 in reverse look like the word “Hello”. We know nothing about the greeting besides it showed up in a scene where Patton had the floor. If that greeting was meant for Thomas, Patton, or as a Easter egg for the audience is up to interpretation.

What actually connects the two?

3.) Patton’s Playlist

Thomas released playlists for the Sides. While not officially canon material, the music choices were deliberate on the team’s behalf and give insight into feelings about events and relationships.

Patton has the song Oranges by Lawrence. The title speaks for itself, the lyrics say even more.

The song is in essence about wanting to take risks, wanting to question the status quo. The writer chose to have oranges as the subject of the song despite it not being a word that rhymes. This is very likely an early look into Patton’s thoughts about Orange.

4.) The Fridge

This one is less clear and credible than the others, especially as it’s place in canon is dubious, but it’s worth mentioning. In The Return of the Jam, Patton has this picture on his fridge.

A majority of people agree it looks like a person wearing orange clothes. However some say it looks like a mermaid, others have said it looks like a person holding a cat, or is someone like Joan or Janus, etc... It’s ultimately up to interpretation. I’m inclined to believe it’s the Orange Side because the team gave us hints in the form of drawings before with Roman and Remus.

If it is the Orange Side, it makes me even more curious. In contrast to Roman’s hints about Remus that foreshadowed their turbulent relationship (point in case, the drawing of Roman killing his brother), Patton and Orange seem to be on better terms. Maybe even on decent terms, if the fridge picture is anything to go off of.

Of course, this all could be entirely wrong. These “hints” might all be happenstance and a every actual hint for the unknown side simply flew over everybody’s heads. I honestly don’t like 100% riding on theories, but it is fun to think about. I might make a post about how Logan, the Orange Side’s function, and the rainbow theory connects with this. However this post was just about their possible connection, I’m going to leave it at “Patton totally has a dark side brother”.

But hey, that’s just a theory, a gay theory.

#sanders sides #sanders sides theory #orange side theory #ts orange side #ts patton #Patton’s sanders #ts Logan #ts roman #sorry it’s so long read more wasn’t working #long

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neocatharsis · 3 years

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NCT’s Mark Lee on Dreams, Instagram Poetry, and Growing Up

Mark has a lot going on — but he’s making time for poetry, introspection, and, of course, the members of NCT Dream. - Vivien Wu

“I’ve been thinking about dreams a lot these days!” Mark Lee exclaims over Zoom from SM Entertainment’s Seoul headquarters.

The 21-year-old leader of NCT Dream is enthusiastic as he mulls over the meaning of dreams, his back against a wall of pink and yellow flowers assembled by his fellow NCT members. He’s wearing a simple, white tee, and when he gestures with his hands, you can catch glimpses of the friendship ring that all seven members of NCT Dream wear as a symbol of their bond.

“I actually feel like dreams hold a large portion of a life, and I’m not just talking about the subconscious dreams that we all have when we sleep,” he continues. “If you put it in a way where dreams are actually things that motivate us, and the drive that keeps us going, especially as a strongly driven person myself, I feel like… a guy with no dreams is like…” He looks up, thinking. “…A car with no engine. So, I think it’s as important as yourself. That’s how deep I go with dreams.”

His interest in dreams is fitting, considering that they are also the central, underlying concept to the lore behind NCT Dream’s parent group, NCT. They connect their three subunits, NCT 127, NCT Dream, and WayV, in a complex, Inception-inspired fictional universe where dreams are the only way they can find each other, and where upon uniting they can mix to form new subunits collectively referred to as NCT U. In practical terms, this has resulted in a 23-member mega-group that is multifaceted in every way — from their musical styles and visual aesthetics to their cultural backgrounds and spoken languages.

NCT Dream’s original teenage concept meant that members were supposed to “graduate” when they came of age, and as the oldest, Mark was the first to leave the group at the end of 2018. Having grown attached, however, fans were devastated at his departure; after a year of separation, SM announced that the graduation system would be scrapped and that he would rejoin the group. Their new album, Hot Sauce, is the first with Mark in over two years. As fellow member Haechan declared in an interview with Teen Vogue earlier this week, “Mark [is] very special. NCT Dream means Mark.”

But before the rapper led NCT Dream, and before he joined NCT U and NCT 127 and SuperM — the man is in high demand — Mark’s childhood dream was writing. He grew up in Toronto, and through doing school projects and essays quickly discovered that he had a natural way with words. Inspired by Percy Jackson author Rick Riordan, Harry Potter, and James Patterson, Mark dreamt of becoming an author, long before he was recruited by SM at a global audition in Canada in 2012. “When I was in school, I was always the kind of guy who would write more than expected, and that became a thing that clicked for me,” he says. “I was like, ‘Maybe it’s something that I naturally do?’ But then that kind of turned into rap writing too, so I guess they kind of clicked together.” It explains his prolific career as a lyricist; since debuting, he’s amassed over 30 songwriting credits across his various groups, contributing to songs as iconic as NCT U’s “Boss,” NCT 127’s “Cherry Bomb,” and NCT Dream’s “Chewing Gum.”

Even with such an extensive body of work, however, penning lyrics hasn’t satiated his appetite for literary expression. In an interview with Japanese magazine Men’s Non-No, he revealed that he still hopes one day to write a book, whether that be a novel, autobiography, or something more philosophical.

In the meantime, he’s taken to writing what are basically short poems on his Instagram, which he created just a few months ago. He’s gathered over 4.5 million followers since then, but having such a large audience hasn’t deterred him from being endearingly vulnerable with the way he writes. When I refer to them as poems, he laughs and looks embarrassed, but when I ask him to tell me the stories behind them, he’s enthusiastic again. They’re short, but offer brief glimpses into Mark the writer — sharp, inquisitive, and thoughtful. As pieces of literature, they’re a little rough around the edges, but the sincerity he’s known for shines through, illuminating the introspective, philosophical side that may not be so obvious in person.

His first poem, loosely titled “Late Night Scribbling,” put into words his musings about sleep, thoughts, feelings, and writing. It meanders from topic to topic, hovering between feelings of hope and hopelessness, before ending with a comically awkward “haha.”

“I actually wrote that by imagining how I wanted to organize my Instagram page,” he explains. “I was thinking of creating an Instagram, then I realized that, well, I’m not really a picture kind of guy, I’m not really a travelling kind of guy… I kind of studied who I am first, and I [asked myself], ‘What’s something that I can really portray in an intimate way?’ and it turned out to be writing.”

“I started to brainstorm what kind of topics I could write about, and then from there on, I started to write a little each and every night, and that turned into Late Night Scribbling,” he continues. “That kind of gave me courage to start Instagram in the first place, that piece of writing.”

Two weeks later, he followed it up with “Black Socks,” a whimsical ode to, well, black socks — complete with accompanying photos of him wearing said socks. Immediately, it feels more confident and cohesive than its predecessor. Using the neat and tidy look of black socks as a metaphor, he describes his own mindset for living life: “Pleasure from perfect alignment; That also goes for my ability to be parallel with my thoughts and actions; I try to live out what’s in my mind, and keep it consistent even when forgotten like a working habit.”

Comments on the posts praise his writing and encourage him to continue sharing these small pieces of himself. On the stage, Mark takes on a confident, larger-than-life persona, while in vlogs and spoken interviews, he’s a bubbly character full of laughter and boyish charm. What the poems show is that, beneath these outer appearances, there’s another layer of complexity that is yet to be fully explored, and it’s not surprising that fans want to know more.

His day job as a K-pop idol doesn’t allow a lot of time for hobbies, though, and he confesses to not having written much lately. Despite that, he’s determined to stay in the industry for as long as possible. “Longevity is something that I’ve always been aiming for,” he says. “I’m willing to do this for a long time, and that requires a lot of work. I’m willing to take that as a challenge and I’m trying to stay as long as I can, but with quality.”

That focus on quality informs his preparations for the upcoming promotions with NCT Dream. In both their fictional world and ours, NCT Dream are a central component of NCT by virtue of their unique focus on growth — the seven members were aged between 14 and 17 when the group first debuted in 2016. Fast-forward five years, and the members are now 19 to 21, having reached a milestone in January when the youngest, Jisung, finally became a legal adult in Korea. When asked if he feels like an adult yet, though, Mark gives an extremely relatable answer with zero hesitation.

“I still feel like I’m in middle school, I’m gonna be totally honest. I swear to God, I feel like I’m… All right, I’ll put it up — I feel like I’m in high school!” He laughs. “I even had this talk with Jisung, ‘cos he’s the latest that turned into an adult. He said that he still feels like he’s a student, he doesn’t feel like he’s 20 [19 in international age] right now.”

It’s been a long time since all seven Dream members — Mark, Renjun, Jeno, Haechan, Jaemin, Chenle, and Jisung — have released an album together, and as the first full-length album since their debut, the fan anticipation is palpably intense. Mark himself has mentioned in various vlogs how important he believes this comeback to be, and that conviction becomes obvious whenever he talks about it.

“We had a talk all together, the seven of us, without any cameras or anything. I brought all the guys together and we talked before the whole momentum started, and I said that I’m willing to put my everything on this one. Like, I always had, but I feel like… the whole universe, or like— ” He pauses, trying to figure out how to articulate himself, and his next line is the most emphatic of our whole conversation. “There are things that are out of our control, but we can see and feel when the pieces match together sometimes, and I feel like this specific moment, this particular album, kind of had those essential parts.”

He’s thinking about all of the context surrounding this comeback: the group’s coming of age, the reunion of all seven members, the scale of the album, the fact that Jisung has only just recovered from a leg injury that meant he couldn’t dance for months — even the fact that 2020 was, against all odds, the best year yet for NCT, with release after release bringing them unprecedented success and momentum.

“I felt that coming and I explained all of that [to the group],” he continues. “This whole period of time has a lot of meaning to it, and we’re not taking that for granted, we’re working hard.” With everything that’s happened, Hot Sauce is a historic moment for NCT Dream, and that’s been reflected in their numbers — the album clocked over 1.7 million pre-orders, obliterating their previous record of 500,000 for last year’s EP, Reload.

Their familial bond and the success that has come with it is the culmination of years spent living, working, and growing up together. The members have collectively missed out on key experiences that most teenagers might take for granted, distanced as they are from normal life, and the group also benefits from an unusually loose adherence to traditional Korean age hierarchy. The result is a brotherhood that goes beyond just being colleagues. “What we have is pretty intimate, and it’s also genuine,” Mark says.

About his role, he is matter of fact. “I’m by far the most easily approachable punching bag for the team. I am not… complaining…” He laughs. “But all jokes aside, I feel like my role for this team… Yes, I am the oldest and I am the leader but I’m also… In Korea, in the culture, age is very important, but we’ve come so far that all those borders kind of just vanished and we’re all pretty much friends, and I guess I’m just a friend of theirs too.”

It’s true that, despite being the leader, his friendly personality and endearingly awkward mannerisms mean that he commands about as much authority as a small puppy. Instead, much like a puppy, he is showered with love and affection (fellow member Chenle refers to Mark as his son and his actual puppy Daegal as Mark’s little sister), but that doesn’t mean he isn’t a dependable leader figure. The opposite is true — in Renjun’s words, Mark’s presence unites the group in a way that makes him irreplaceable.

And while this may be the fifth year since their debut, in the grand scheme of things, the members of NCT Dream are still very, very young — by most standards, they would still be considered to have their entire careers ahead of them. Growth has brought them here, but where does Mark think it will take them in the future?

“Growing just never stops for us, I can see us growing continuously, endlessly,” he replies. “What the future holds is something that we will never know, but we always do try to prepare during the present, and so with whatever time we have currently and with whatever album, or whatever stage, or whatever piece of music it may be, we’re willing to make sure that we have the next one coming too.”

A final thought. “I’m glad that we’re striving for that, ‘cos we started off as…” Mark shakes his head, “…as babies.”

#nct #nct dream #Mark #nct 127

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hacked-by-jake · 3 years

Text

Hey Ho! :D

You will always find this post in my blog description.🥰

(Well, since there’s not really much information about me, here’s a post of things you’ve been interested in and some facts about me.)

(Thanks to the Anon for the motivation to do this here! <3)

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So, Hi! You can call me HBJ! I don’t want to mention my real name and age here. 😁

I started publishing my fanfictions here on Tumblr a little over a year ago and haven’t left since. xD

My mother tongue is not English, I am from Germany. So if you find some mistakes, please excuse it, I’m doing my best and still learning. <3

I honestly have no idea what to write here so, have fun, if anyone reads through this here. 😂 At least that’s a little bit of me. :D

>The Ask Box is always open. So feel free to ask a question if you are interested (but I want to warn you, I am not answering everything, but I will let you know in this case) < <3

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Let's start! ❤️🌹🎭

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First of all 10 Random Facts about me. This was asked by an anon. Here is the original post.

I’m a giant nerd, there’s no place in my room that’s not full of merchandise.

I prefer to read stories that are self-published, for example here on Tumblr or on other sites, rather than real books.

I have a problem with jackets, I have tons of them.

I usually dye my hair according to the colors of characters I like.It all started with green/purple - because of the Joker. And the last color I have at the moment is all green because of Joker / Loki from Marvel (Oups)

Almost all tattoos I have are about fictional characters (also Oups)

No one, really nobody knows what books/stories I read because that’s something very private to me.

I listen to music 24 hours a day, 7 days a week.

Also, it’s hard for me / I don’t like to talk about the music I listen to because this is very intimate for me for some reason.

When I watch a series, it’s at least 2 times behind each other, sometimes more often. But never just once.

Films that I watch for the first time and that excite me, I watch every second that I have time. When the movie is over, I start again unless there are several parts. But then I always watch my favorite one 500 times.

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Random questions from you.

(Asked by @procrastinatingrobin) -One place that you'd like to travel at least once in your life?

---- One of my biggest wishes is (what a cliché xD) New York. For example the “Joker Stairs”, which is one of my biggest dreams. *-*

I would love to travel to a lot of locations from my favorite movies/series.🤭

America in general is a dream for me (a German potato 😂😅).

But there are so many beautiful places to which I want to go. For example, I would love to travel to Tenerife. I know someone who lives there and every time I see pictures I get very jealous. xD

Unfortunately, I’m incredibly afraid of flying, so if that doesn’t improve, I’ll never get anywhere near these places.😫😂😂

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(Asked by Anon) How many tattoos do you have?😄

I love tattoo questions. 😂🤭At the moment I have eleven tattoos🥰

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(Asked by Anon) -What's your favorite animal?

Hmmm I don’t really know, I think they are dogs because I have a dog now. *-* But to be honest, turtles are so cool.🤔 My brother has a turtle named: Schiggy (based on Pokémon)🤭

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(Asked by Anon) -The stupidest thing that ever happened to you?

Ohhh hahaha there I have something good!😅Story Time with Hbj xD

Okay: As some might know, I’m a big fan of The Joker by DC.🃏Well, in 2019, the Joker movie with Joaquin Phoenix came to the cinemas and I was at the cinema premiere with my best friend. And the movie was absolutely amazing. I really wanted to watch the movie again..Aaaaand I was lucky because my best friend’s boyfriend also wanted to see the movie in the cinema so I went back to the cinema 5 days later to watch the movie again. I was so excited and so extremely happy that I trembled and could not stand still. xD And for these two reasons, I accidentally dropped my not really old phone. It just fell straight down on the stones in front of the cinema and the display was completely broken..Well, what can I say? I needed a new one.. 😂😅But the movie was still fantastic!😍🤭This is actually one of the stupidest things that ever happened to me. xD

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(Asked by @kyras-things) What are the little things that make your day happiest?

Oh that’s a really nice question! *-*Well, I have really little things that can make me happy. :)-It is enough for me when I wake up tomorrow and see my merchandise shelf😅 (This is right in front of my bed)This is for most something really small but for me really great and makes me happy. <3Other things are music, stroking my dog, messages on my phone, my hair color, my tattoos, when the sun is shining in the morning, coffee, riding longboard and of course (yes this is my absolute serious and not only so therefore said) tumblr and thus at the same time Duskwood. 💕I think these are the most important things. 🤭All I need is to see something that matters to me.😅🥰

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(Asked by @leetjep) Seriously....Do you ever sleep?

Very rarely😂 Last time I slept was in fall.😂

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(Asked by Anon) Ios or android?

Only related to the phone: Android.Yes, I stand by it!😂

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(Asked by @booklover-01040) Hello!I was wondering have you got any paranormal or creepy experiences? If no, then a nightmare that you will never forget.

Hey Ho! In fact, I haven’t experienced any paranormal things. Which is probably also because I don’t believe in that and I’ve found a rational cause for everything so far. (Important: I don’t believe in it, but I don’t say it doesn’t exist, I don’t want anyone to feel attacked)

And a nightmare I’ll never forget? In fact, I can’t think of any one. There’s a dream I’ve have since I was a kid: It’s about two little wolves trying to eat me. xD And I can even tell where that came from.

The movie to blame for this is: Twilight xD

Yep… When I first watched this movie, I was way too young, and as a child I was always very anxious. Just such things and horror movies in general were terrible for me (today it is actually no longer so) (Even the dream is no longer bad today and yet it has a bitter aftertaste of childhood.)

In any case, I was much too young and that did not let me go back then. xD But a really unsettling dream I had was: Well.. Do you know the Pink Panther? 😂

I once dreamed that the Panther “chased” me through an endless long corridor. It was an endless corridor in pink with countless doors. He sang the theme song and threw clocks at me…😅 And that went on all night until I woke up.

(This, by the way, had a trigger too. A German song (the rapper only took the melody of the title music and wrote his own lyrics. The text isn’t really cool though and that’s the reason)

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(Asked by @dreamer-writer-fangirl) What color is your hair?

Well, at the moment my hair is green🤭

Check HERE and HERE for pictures.

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(Asked by Anon) Is your brother younger or older than you?🤗

My brother is older than me.🥰

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(Asked by Anon) Do you have a nickname?

Yes, actually I have one. I can even say it because it has nothing to do with my real name. :D But please don’t laugh at me. 😂Well, I have the loving nickname: Little Onion. yep…My mom gave me that name for some reasons. 😂

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(Asked by Anon) some information about your dancing?😄 you mentioned it a few days ago💃

Yeah, well, I danced for 13 years, in different groups, also several groups at the same time. :D It was the hip hop/breakdance direction. But at some point I stopped because I didn’t enjoy it in the groups anymore and time was getting tighter. :/ Unfortunately, there was and is no real other groups here, which is why I stopped completely and now only dance for myself and just for fun.🤭

(Asked by Anon) What's your favourite food ?

Uhhhm, I think everything with pasta is my favorite food.😂 I can eat noodles all day. 🤭🍝🍜Well, and of course, Pizza!🍕Pizza is adorable. 😂

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(Asked by Anon) What type of video games do you like to play?

I don’t really have a favorite type / genre, I don’t play video games that often. I’m actually playing what looks exciting to me without any particular genre or type. 😁🤭

But if I do, I guess I’m the most Nintendo type. So most of the games I play are related to Nintendo. <3

(Asked by @mirajane01040-duskwoodmemes) Do you play... Minecraft?

I used to play a lot of Minecraft, but nowadays not so much, and if so, then only the mobile version. This is fun for in between and dispels the boredom. I even started building Duskwood several times, but never finished it. xD Well, yes, sometimes I play Minecraft.

Answer a few days later: Yes, I do!

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(Asked by Anon) If you could be a fictional character, who would it be and why?

Oh, there are a few. xDBut the three main characters for me: Evey Hammond because of V for Vendetta. Harley Quinn because of The Joker. And, of course, my MC because of Jake. 🤭I know, very superficial reasons but I hope they are enough for you, because these are the main reasons xD 😅🤭

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(Asked by Anon) Hey hbj i'm curiousFamily or a career? 😋

I choose the career.🤭 After that, there is still enough time, and who says that not both work?😉

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(Asked by Anon) do you like alcohol?🍷

No, absolutely no. Not a little bit.

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(Asked by Anon) What is your favorite drink?

If I don’t drink coffee, I only drink sparkling water, my entire life. I very rarely drink something different. Water for life! 🧊

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Either/or questions from you.

(Asked by @duskwood-legacies) -What would you rather see, Northern Lights or sky lanterns?

That’s easy for me🤭 Northern Lights! If you ask me.. that is magical! *-* (Well, unless it’s like “Tangled” and I get a Flynn Rider.. then sky lanterns xD)

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(Asked by @duskwood-legacies) -Strawberries or raspberries?

Definitely: Strawberries🍓 *-*

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(Asked by@duskwood-legacies) Do you prefer angst or fluff?

I think it depends on the general mood I’m in.🤔 I think the best is angst with happy ending.😁

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(Asked by@duskwood-legacies) Milk or cereal first?

Obviously: Cereal first! 😂🥣

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(Asked by @justubi) Would you rather have a nosy neighbor pr noisy neighbor?

Unfortunately, I have both. xD But if I could choose, I would opt for the noisy neighbor as I wear headphones all day anyway.😂

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(Asked by @justubi) Would you rather be poor but love your job or rich but absolutely hate your job?

One hundred percent and without having to think about: poor and love my job!I could never have a job I don’t like. This is a real horror imagination for me😂

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(Asked by @kyras-things ) Prefer to write fanfics or read them?

Oh that’s a really hard question for me! 🤔 I can’t really make up my mind, but I think I’d rather read than write myself. With stories of others I can better dive into another world and relax. 🤭Because when I write, five hundred other thoughts always fly around in my head and I have to decide how to write something etc.I love writing but sometimes I wish I only had to think about a story and it would be written on a sheet right away. xD <3

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(Asked by @leetjep) Would you rather have one eye in the middle of your head or two noses?

I take the eye in the middle of my head. 😂Then I would make the Jake eye as a tattoo around it, which would be really cool.🤭

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(Continues on new asks)

#It's me :)#personal #hbj talks #about me #have fun lol

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passionate-reply · 3 years

Video

youtube

Here’s something I know you’ve heard before--Dare, by the Human League! One of the most famous and widely-acclaimed synth-pop albums there is, Dare was a huge game changer. Find out why by watching my video, or reading the transcript, after the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’m going to be talking about one of the single most important albums in the history of electronic music, and, perhaps, in Western popular music as a whole. It’s Dare, the third full LP from the Human League, first released in 1981. While there had been two albums released under this name prior to Dare, these are considerably more obscure.

Music: “Empire State Human”

While “Empire State Human” has a catchy and affable chorus, it’s still a few shades too weird and avant-garde to be a pop hit. In the early days, the Human League’s experimental, underground sound was driven mainly by founding members Martyn Ware and Ian Craig Marsh. Prior to the recording of Dare, Marsh and Ware had already left the group, and would go on to form Heaven 17. Frontman Phil Oakey, and newly hired backup singers Joanne Catherall and Susan Ann Sulley, were without a leg to stand on, as none of them had any serious background in music composition or playing instruments.

While the situation looked quite dire, the trio would find a new musical bedrock in Ian Burden, who had played keyboards on their most recent tour as a session musician. Against the crude, naive, unprofessional vocals of Oakey, Catherall, and Sulley, Burden would provide simple, but competent melodies. The other key ingredient of this new sound was professional production, which would come from Martin Rushent. Despite working with many guitar-oriented acts prior, Rushent was one of the first producers who had deliberately devoted himself to working with electronic instruments at the time. Put all of that together, and you’ve got synth-pop magic, like nobody else had hammered out before.

Music: “Don’t You Want Me”

If you came to this video with even a lick of knowledge about Western pop, then you probably know “Don’t You Want Me” quite well. “Don’t You Want Me” wasn’t the first electronic pop song, nor was it the first major hit to feature a chiefly electronic instrumentation. The real reason it was such a game changer is that it’s ultimately a very ordinary pop song, underneath all of that. Songs like Gary Numan’s “Cars,” or OMD’s “Enola Gay,” were comparatively easy to write off as mere high-concept novelty. Many felt that their vision of a future full of machine music would blow over, the way jetpacks and flying cars had failed to revolutionize the world. But “Don’t You Want Me” proved that you could write an otherwise unremarkable love song, set it to a fairly unambitious synth backing, and achieve major pop success. “Don’t You Want Me” is that watershed moment, where synthesisers start presenting a credible threat to guitars, and everything that they stand for. Moreso than anything else that was released in this era, “Don’t You Want Me” is the reason why “pop” is, at this point, assumed to be electronic by default.

While the sheer influence of this track can’t be overstated, it’s also far from the only thing Dare, as an album, has to offer. In fact, “Don’t You Want Me” is the very last track on it, and its apparent simplicity is heavily contextualized by everything that comes before it. Take “Love Action,” for instance, which was the first single from the album, and one of the band’s best-known tracks.

Music: “Love Action”

“Love Action” is certainly not devoid of pop sensibility, and its being a chart hit makes plenty of sense. But I think it’s decidedly stranger and less conventional than “Don’t You Want Me,” with its piercing intro and glitchy synth effects. While its lyrics aren’t challenging, in an obtrusive manner, they seem to read as a sort of parody of a pop song, declaiming the superiority of limerence or casual affairs--“no talking, just looking.” It’s a pop anthem that’s aware of its own disposability, and the sort of culture of disposability and frivolousness that it’s participating in. Another strikingly ironic number is the album’s opener, “The Things That Dreams Are Made Of.”

Music: “The Things That Dreams Are Made Of”

With its confident proclamations about what “everybody needs,” and unquestioning praise of petty luxuries like ice cream and vacations, the saccharine “The Things That Dreams Are Made Of” is even more pointedly satirical, a wan hymn to the pleasures of postwar prosperity. But even if this track maintains a surface level “believability,” there are still a number of darker tracks to be had on Dare, which more strongly recall the style of those earlier albums. Take a listen to “Do or Die.”

Music: “Do or Die”

One of the more confrontational or frustrated tracks on Dare, “Do or Die” still maintains something of a pop core, and it’s easy enough to sing along to. What I think really stands out about it, though, especially for the time, is the use of mechanical percussion. Prior to this point, acts like Gary Numan, OMD, and even Kraftwerk still had human drummers who physically hit things in their bands. Even Giorgio Moroder’s “I Feel Love” used traditional percussion, despite featuring nothing but Moog synthesisers and the human voice besides. It wasn’t only the guitar that feared for its relevance during this time, but also the drum kit. The dense, rattling backing of “Do or Die” was made with a Linn “drum computer,” and remains an impressive use of it that’s still mesmerizing to listen to. But perhaps the most avant-garde track to be found on *Dare* is “Seconds.”

Music: “Seconds”

While “Seconds” feels sort of warm and dreamy at first, its startling gunshot casts doubt on just how pleasant we ought to feel. “Seconds” is actually telling the story of the assassination of John F. Kennedy, addressing us listeners as though we embody the infamous gunman, Lee Harvey Oswald. The titular “seconds” apply to the brief moments of apparent happiness and security we feel before something goes wrong, and those narrow margins of time during which everything in our lives can change in an instant. While it’s significantly shorter, I can’t help but think it recalls the high-concept narrative tracks done by the earlier incarnation of the Human League, such as “Zero As a Limit.”

Dare’s iconic cover, a powerful symbol of 80s synth-pop to this day, was inspired by fashion magazines such as *Vogue.* While the design would crib the title, the typeface, and the face-focused composition from a 1979 cover of UK *Vogue,* the stark, bare white frame that surrounds this close-cropped headshot of Oakey is a major distinction. Floating in this sterile bath of emptiness, and borderline anonymized, it feels like the interchangeable mask of someone living out a mechanized and mass-produced existence. It’s an image that almost plays into how detractors of electronic music have decried its seemingly emotionless, inhuman ambiance, and it rides that enmity with a deliberate, defiant dignity. It says, we are what you think we are, and we’re damn proud of it. Much like the bold and brash title implies, the cover of *Dare* is a provocation, perhaps even a threat. While the cover isn’t particularly beautiful to me, as many others are, I think its austere ugliness is deeply purposeful, and that’s something I’m compelled to admire.

Despite the breakthrough success of Dare, the Human League’s 1984 follow-up, Hysteria, was a relative flop, plagued by troubled recording sessions and a lack of consistent vision for the band and their sound. Its lead single, “The Lebanon,” would achieve modest success, and its use of rock guitar and surprisingly topical lyrics make it feel very different than what you’ll find on Dare.

Music: “The Lebanon”

Though they would eventually go on to have one last major hit, in 1986’s “Human,” the Human League never developed mainstream staying power, and their core trio’s reliance on outside writers and producers left them without a firm artistic identity to fall back on. They’re still around today, performing concerts that revisit their best-known work from the past, but they never recreated the fruitful environment and industry connections that made Dare possible. Still, it’s safe to say that Dare is an inescapable presence in the history of electronic pop, looming over all subsequent works like some inscrutable Sphinx, a lightning in a bottle success whose influence remains all around us.

My favourite song on Dare is “Darkness.” As the title implies, it’s one of the more dreary, gothic numbers you’ll encounter on the album, narrating the harrowing, paranoid mindstate of an insomniac. I don’t particularly struggle with sleep, but I do have a habit of being awake all night and sleeping all day, so I love nighttime-themed songs. Plus, the lyrics of this song make reference to “seeing sounds” and “hearing colours,” a phenomenon called synesthesia. I’m not sure if anyone in the Human League really experiences this, but I do--which is part of why I’m so strongly interested in music. But enough about me! That’s all for today, thanks for listening!

Music: “Darkness”

#music #great albums #album review #album reviews #human league #the human league #synthpop #synth-pop #synth pop

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funknrolll · 4 years

Text

Focusing on Prince and the song Avalanche: Lesson learned or....??

Hi my music lovers, today we are celebrating the birthday of the undisputed music legend and virtuoso: Prince Rogers Nelson. Since all that is happening these days, I wanted to offer you guys the chance to reflect on these crucial issues. Therefore I chose to focus only on one song in Prince's vault: Avalanche. In my opinion, this piece is quite relevant to what is happening these days. I really hope I do Prince justice. I hope we can learn something from this article and the lesson Prince taught us. Should there be anything, I missed do not think twice to let me know or contact me. Enjoy the article.

In 2002, Prince released One Nite Alone (Solo Piano and Voice by Prince). As the title suggests, the only accompaniment in this album is the piano. Today I want to offer you the chance to reflect on the song Avalanche. Avalanche. The message delivered with this song is compelling, and the lyrics were magistrally written. Moreover, as many people know, Prince was an avid reader and an extremely educated person who had a vast knowledge not only about music but also about history, in this case. Indeed, with these words, the Artist is referring to some historical events to create one of the most MONUMENTAL protests songs in music history. Before I explain this total MASTERPIECE, I need to mention some crucial points. I will never stress enough about this. We all know that Prince was a black man. However, the fact that he, in some interviews, said things like "I was brought up in a black and white world. Black and white, night and day, rich and poor. I always said that one day I was going to play all kinds of music and not be judged for the color of my skin, but the quality of my work" or quoting his song Controversy "I wish there was no black or white" etcetera... It does not mean he was not conscious and aware or proud of being black. This does not mean that he was not aware of what black people had and still have to endure and go through. Indeed, Prince was extremely knowledgeable of everything that I mentioned, and he was proud of being black, and this is something significantly present in his music, in his sense of style, in his words, lyrics, music videos, concerts, and movies. I'm making this point because I have overheard too many people accusing Prince of not embracing his blackness or even being biracial as the new york times erroneously claimed. None of these things are true. I also heard that the Artist was not aware of what black people had and still are going through and that his music was not "politicized enough." This is another big fat lie. This song is proof. Therefore, before writing and describing this MONUMENTAL song, I thought I needed to re-emphasize this significant point. By the way, Prince's mother was NOT Italian. She was a beautiful black woman. Furthermore, as already mentioned, Artist had extensive historical knowledge and was also conscious and aware of how black people have always been exploited and treated. Moreover, Prince was accustomed to speaking his mind and saying what he meant, and just by reading the superlative and poignant lyrics, we could see that the Artist was quite straight-forwarded in writing this piece. Indeed:

He was not or never had been in favor

Of setting are people free

If it wasn't for the thirteenth Amendment

We woulda been born in slavery

He was not or never had been in favor

Of letting us vote, so you see...

Abraham Lincoln was a racist who said

"You cannot escape from history "Like the snow comin' down the mountain

That landed on Wounded Knee

Nobody wants to take the weight

The responsibilityHear the joyous sound of freedom

The Harlem Renaissance

Hear Duke Ellington and his band

Kick another jungle jam

Ooh, do you wanna dance?

Who's that lurking in the shadows?

Mr. John Hammond with his pen in hand...

Sayin' "Sign you're kingdom over to me

And be known throughout the land!"

But, you ain't got no money, you ain't got no cash

So you sign yo name, and he claims innocence

Just like every snowflake in an avalanche...Like the snow comin' down the mountain

That landed on Wounded Knee

Nobody wants to take the weight

The responsibility

This masterpiece begins with a quote taken from the 4th Lincoln-Douglas debate held in Charleston, South Carolina, on September 18, 1858. Lincoln opened his discussion with these words:

"While I was at the hotel to-day, an elderly gentleman called upon me to know whether I was really in favor of producing a perfect equality between the (slur) and white people. [Great Laughter.] While I had not proposed to myself on this occasion to say much on that subject, yet as the question was asked me, I thought I would occupy perhaps five minutes in saying something regarding it. I will say then that I am not, nor ever have been, in favor of bringing about in any way the social and political equality of the white and black races, [applause]-that I am not nor ever have been in favor of making voters or jurors of (slur), nor of qualifying them to hold office, nor to intermarry with white people. I will say in addition to this that there is a physical difference between the white and black races, which I believe will forever forbid the two races living together on terms of social and political equality. And since they cannot so live, while they do remain together there must be the position of superior and inferior, and I as much as any other man is in favor of having the superior position assigned to the white race."

This was just the beginning of the speech Lincoln gave, and the words bolded are the exact beginning of the song by Prince (disclaimer: I replaced the racial slurs with this (slur) since I do not want any slurs on my platform). Moreover, as we can see in this song, the Artist was calling out the former President Abraham Lincoln for being racist. As you can see from this speech, HE REALLY WAS A RACIST. Moving on with the speech, Lincoln also said that he was not against slavery, and therefore he did not want to abolish it. Additionally, Prince mentioned the thirteenth Amendment. Before I report the Amendment, I believe it is important to contextualize it. What I am about to write will show one more time that Lincoln was a stone-cold racist, unlike many people were taught in schools. So, during the Civil War, the South USA (which economy was unfortunately still based on slaves working in plantations), wanted to keep a balance of free and slave states to maintain its political power in Congress. Southern slaveholders feared the loss of control for many reasons, including a rational fear that if Northern abolitionists had eventually swayed their representatives to vote to abolish slavery, the South wouldn't have had the votes to stop it. So, on September 22, 1862, President Lincoln warned the Confederate states that if they did not rejoin the Union before January 1, 1863, he would free their slaves. If they had timely surrendered, he would not have issued the Emancipation Proclamation. Therefore, on January 1, 1963, Lincoln "proclaimed" the "end of slavery." Bear in mind that this was as much an act of political/military strategy rather than moral courage.

Additionally, the Emancipation Proclamation freed only slaves held in the eleven Confederate states that had seceded, and only in the portion of those states not already under Union control. Slavery was left untouched in the loyal border states. The Proclamation also expressly exempted parts of the Confederacy (the Southern secessionist states) that had already come under Northern control. Most important, the freedom it promised depended upon the Union (United States) military victory. The actual abolition of slavery was achieved when the Thirteenth Amendment was ratified on December 6, 1865. The first section of the Amendment declares, "Neither slavery nor involuntary servitude, except as a punishment for crime where of the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.". In addition to everything mentioned, the second segment of the speech I bolded is about the right to vote. Eventually, the Artist ends these verses accusing Lincoln of being racist, saying that it is not possible to escape from history. I must say that Lincoln really was A RACIST, and we have always been taught history the wrong way. I also must say that despite the abolition of slavery, black people were never really free, for racism was and still is one of the biggest plagues not just in the USA but all over the world and what we have seen until now is the proof.

Moreover, in the next verses, the Artist mentioned the Harlem Renaissance. For those who do not know that was, I will give a quick explanation of it. The Harlem Renaissance was a cultural, literary, and intellectual movement that fostered a new black cultural identity. This movement flourished in Harlem, New York, after World War I and ended around 1935 during the Great Depression. The movement raised significant issues affecting the lives of African Americans through various forms of literature, art, music, drama, painting, sculpture, movies, and protests. Voices of demonstration and ideological promotion of civil rights for African Americans inspired and created institutions and leaders who served as mentors to aspiring writers. The Harlem Renaissance arose from a generation that had lived through the gains and losses of Reconstruction after the American Civil War. Sometimes the parents or grandparents of those who lived during that historical period were slaves. Many people who lived in the Harlem Renaissance were part of the Great Migration. They moved out of the South into the black neighborhoods of the North and Midwest of the USA. African Americans sought a better standard of living and relief from the institutionalized racism in the South. Others were people of African descent from racially stratified communities in the Caribbean who came to the United States hoping for a better life. Uniting, most of them were their convergence in Harlem, New York City. Furthermore, Harlem was the center of a musical evolution that uncovered amazing talents and created a unique sound that had yet to be paralleled. Jazz was the newest sound, and it attracted both blacks and whites to go to nightclubs like the Savoy Ballroom to hear artists like Duke Ellington, Billie Holiday, and Miles Davis. Jazz was a result of the Harlem Renaissance, which originated from the musical minds of extraordinarily talented African American people. The genre includes traits that survived from West African American music, black folk music forms developed in the New World. In his song, Prince was indeed referring to jazz music and one of its most relevant and most brilliant artists: Sir. Duke Ellington. In the next lines, we see the Artist mentioning John Hammond. Hammond was a white talent scout, record producer, and music critic. This is another excellent example of how history has been distorted. Indeed, if you look upon the net, you will find that this man fought against segregation and racism. However, if you read Frank Kokofsky's book, John Coltrane and the Jazz Revolution of the 1960s, you will learn the truth about the political economy of white domination over black music. In particular, Kokofsky focuses on the relationship between John Hammond, Columbia Records, and the Artist Bessie Smith. Indeed, as Kokofsky writes:

"The first and most important point to emphasize is that, as author Chris Albertson reveals in his biography of Bessie Smith, Hammond signed the singer to a series of contracts with Columbia Records that gave her a small, fixed fee for each performance she recorded and no royalties. Such contracts were apparently standard practice with the executive, for Billie Holiday unequivocally stated in her autobiography, Lady Sings the Blues: 'Later on John Hammond paired me up with Teddy Wilson and his band for another record session. This time I got thirty bucks for making half a dozen sides.' When she protested about this arrangement, it was, according to her, a Columbia executive named Bernie Hanighen – and not John Hammond – 'who really went to bat for me' and 'almost lost his job at Columbia fighting for me.'"

Hear the joyous sound of freedom

The Harlem Renaissance

Hear Duke Ellington and his band

kick another jungle jam

Ooh, do u wanna dance?

Who's that lurking in the shadows?

Mr. John Hammond with his pen in hand...

sayin' "Sign ur kingdom over 2 me

and b known throughout the land!"

But, u ain't got no money, U ain't got no cash,

So u sign yo name and he claims innocence

just like every snowflake in an avalanche.

This situation is quite familiar, isn't it? Perhaps Prince had heard or read about this, and therefore he decided to add this fact to this masterpiece.

Last but not least, another relevant part of this song is the chorus. Indeed, with this brilliantly written chorus, Prince is referring to the massacre of Wounded Knee, where more than 350 Native-American were killed. Indeed, On the morning of December 29, 1890, Chief Spotted Elk (Big Foot), leader of a group of some 350 Minneconjou Sioux, sat in a makeshift camp along the banks of Wounded Knee Creek. The group was surrounded by U.S. troops sent to arrest him and disarm his followers. The atmosphere was tense since an order to arrest Chief Sitting Bull at the Standing Rock Reservation just 14 days earlier had resulted in his murder, prompting Big Foot to lead his people to the Pine Ridge Agency for a safe haven. Alerted to the band's Ghost Dance activities, General Nelson Miles commanded Major Samuel Whiteside and the Seventh Cavalry to apprehend Big Foot and his followers, and the regiment intercepted them on December 28, leading them to the edge of the creek. While confiscating their weapons, a shot pierced the brisk morning air. Within seconds the charged atmosphere erupted as the Indian men rushed to retrieve their seized rifles, and troopers began to fire volley after volley into the Sioux camp. From a hill above, a Hotchkiss machine gun raked the tipis, gun smoke filled the air, and men, women, and children ran for a ravine near the camp, only to be cut down in the crossfire.

More than 200 Lakota laid dead or dying in the aftermath, as well as at least 20 soldiers. Although the story of the Wounded Knee Massacre is well-known, its causes and effects are still an enigma 125 years later. For 19th century Americans, it represented the end of Indian resistance and the conquest of the West. For Native-American, it represented the utter disregard of the U.S. toward its treaty responsibilities, its duplicity, and its cruelty toward Native people. In the 20th century and beyond, Wounded Knee continued to fuel controversy and debate. Notably, what is particularly controversial was and is the impetus and intent of the government that day, the role of the military, and the conflicting ways the tragedy is remembered today. Indeed, from this story, we can see how Prince gave his listener another example of how racism was a persistent plague.

Like the snow comin' down the mountain

that landed on Wounded Knee

Nobody wants 2 take the weight-

The responsibility

Moreover, as I said, the Artist with this MAGISTRALLY written lyrics educates his listener on how racism has always been a persistent, prominent, outraging, and horrifying plague that is still going on today. In addition to that, we can notice Prince's deep and broad historical knowledge, which is something incredibly fascinating and mesmerizing. Moreover, the arrangement of this song, the instrumental and the vocal delivery is among the finest and most poignant he has ever done. Indeed, the Artist with this masterpiece delivers an extraordinarily intimate and intense but yet POWERFUL performance. In my opinion, even though the only instrument played is the piano, its arrangement is outstandingly complex. The blues genre the Artist opted for, also could not have been more following the whole meaning and purpose of the song. Furthermore, the Artist's incredibly broad vocal techniques are perfectly accompanying the meaningful message of the song. Prince, with his ability to shift from a beautiful falsetto to an extremely low chest voice to eventually change to a powerful head voice during the last chorus, is putting into sounds magistrally and vividly a poignant lesson we are still struggling to learn.

Thank you for your attention.💜 Peace. G💜

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talkfastromance4 · 3 years

Text

adore you--harry styles

a/n: erm yeah, so this is something I wrote literally a year ago. It’s an open ended ending (I have no idea where I wanted to go with it but assuming by the title...) anywho. First time posting Harry as standalone, I’ve used him as an outside antagonist in other pieces but yeah. Let me know what you think!?

word count: just shy of 2.8k

warnings: slight jealousy? it is an OC but no definitive characteristics are described

**I used my taglist from 5sos but if you don’t want to be tagged for future (maybe?) harry writings, please let me know!

•••

Harry and Selah were writing buddies. He’d found her poetry on Instagram and had been hooked by her words ever since. He’d messaged her asking if she’d like to collaborate sometime and after a day of screeching about the direct message from none other than Harry Styles himself, she responded.

I’d love to! But I don’t live anywhere near London or LA

Not a problem. I’ll fly you out. H

You aren’t serious

I am 🙂 what do you say?

And then she was on a plane out to LA to write a song or two with Harry Styles. She was a big ball of chaotic and anxious energy. She was excited but nervous and didn’t know what in the world to expect. She’d been a fan of One Direction when they started.

She’d even seen them perform live and it was so surreal she couldn’t believe she saw them in person. And now she’s actually going to meet 1/5 of one of her favorite boybands. If she’s dreaming she didn’t want to wake up.

Once her bags were claimed she noticed a tall woman with a blond bob and a tailored suit, she was holding up a small sign that read ‘Selah Grace Clark’ with the acronym of ‘TPWK’ underneath. This must be her ride.

“Um, I’m Selah Clark,” she says shyly approaching the woman.

“Oh! Hello! I’m Maeve, Harry’s driver but now yours while you’re here,” Maeve smiles extending her hand.

“Nice to meet you, Maeve,” Selah smiles shaking her hand.

“Is this all your luggage?” Maeve indicates to the three large suitcases next to Selah.

“Yeah . . . is it too much? I’ve never been to LA and I don’t know how long I’m staying for—“

“It’s absolutely fine! Don’t worry! Let’s just get a cart so you don’t have to lug it around to the car.”

Selah was taken to a hotel and into the nicest room she’s ever been in.

“Harry wanted you to feel comfortable in your own suite, room service accessible and I’ll be back in a few hours to pick you up and meet him.”

“Where will I be meeting him?” Selah tries to keep her voice at a normal pitch.

“At his house. He’s doing some meetings today but insisted on having you for dinner. I’ll be round by six o’clock Miss Clark.”

“Please, call me Selah or Sel, not Miss Clark,” Selah winces at the formality.

“Absolutely Selah. I’ll see you around,” Maeve winks then exits the suite.

Selah takes a look around then squeals running to the bedroom and flops onto the bed. Is this real life?

+++++

Selah opted for a casual outfit for meeting Harry and her nerves were a terrible bundle the closer she got to his house. What if she’s a blubbering, stuttering mess and he regrets bringing her out here? She’s never met anyone famous before and now she’s meeting (and going to be writing with) one of the most famous singers in the country.

“Here we are,” Maeve announces pulling through the iron gates and into the circle around driveway.

There’s a fountain in the middle of it and unlike her prediction, his house looked very homey and inviting.

“I know you’re nervous, Selah but really, Harry’s just like a regular guy,” Maeve tries to comfort her.

++++++

Selah peruses the photographs adorned on his walls while she waits for him. They’re snapshots of his whole career, faces she recognizes of celebrities and faces she doesn’t. In each one Harry is the enigma, his charisma exudes through the photographs.

“Sorry for keeping you,” a droll voice thick as honey says from behind her.

Selah whips around and her breath is stuck in her throat. Harry Styles is walking towards her wearing tan trousers and a band tee, his hair is styled in the perfect mess. His green eyes are excited and paired with a smile she’s only familiar with in pictures.

“Hello, I’m Harry,” he holds out his ring covered hand. “And you’re Selah Grace Clark.”

“H-hi,” Selah chokes out taking his hand in hers. It’s warm and soft and strong and she can’t breathe. “And just . . . just Selah.”

“Well, ‘just Selah,’” he mocks giving her hand one final shake before releasing. “Would you like to help me with dinner? I hope you like pasta.”

“I . . .” Selah takes a deep breath and exhales her nervousness. “I love pasta.”

++++

One year later, Selah and Harry have become closer than close and she’s become one of his confidante’s and most valued co-writer. She’s been through the thick of things with him and the first time he tried recreational drugs. Her heart still flutters when she remembers what he said to her while he was high.

They were at Mitch’s place working on a song Harry had no name for and only a quarter of the lyrics, when he came and sat down heavily next to her on the couch. His green eyes were dazed but not confused as he focused on her, his long arm falling onto her shoulders.

“Y’know somethin’?” he drags out.

“What?” she humors him with a laugh.

“Your eyes right now are like the ocean with stars in them,” he lifts his left hand to her face. His fingers ghost over her eyelashes then pokes her nose gently. His own brows furrow as he concentrates on her eyes.

She’s stood from the sidelines watching him fall into his despair after what Camille did to him. It made her own heart break but she knew he had to come to terms with it on his own, she knew he could do it and he did.

Little did Harry know that her friendship ran a little deeper, had a little more love in it then she intended it to. How was she supposed to know she’d fall for him?

And now, it’s the day after Christmas and she’s pulling up to his place. He decided to have a little get together for everyone that helped with the album. She opted for a red dress, fish net tights and heeled boots.

When she opened the door his house was already filled with laughter and cheer, Christmas music playing throughout.

“There she is! And looking hotter than ever, damn girl!” Mitch exclaims coming from the kitchen with a small crystal glass that looks like it’s filled with eggnog.

“Oh stop it,” Selah blushes setting her keys on the main table where everybody else’s were.

“C’mere, you,” he grins some more pulling her in for a hug. “C’mon, everyone’s in the living room.”

He keeps his arm around her shoulders leading her into the living room where Harry’s large tree was decorated and standing perfectly in the corner. Everyone you knew were sat around on couches and chairs, even Gemma was kneeling on the floor next to Michal who was sitting on the couch.

“Look who’s arrived!” Mitch shouts.

“Mitch!” she hisses feeling embarrassed as everyone turns their heads in unison to look at her.

“Selah!”

“Sel!”

Gemma is the first to run up and hug you, touching your hair delicately praising how much she likes it.

“Want a drink?” Mitch asks.

“Please. You know what I like?”

“’Course I do,” he shrugs kissing her temple then retreats back into the kitchen.

“You look amazing!” Gemma gushes eying up her dress.

“Thank you, I love your dress,” Selah responds with a smile. She spots Harry behind her, he’s wearing a deep green jumper with faded jeans, his stubble visible even from this distance. He sends a wink her way before continuing his conversation.

Selah tries to ignore the fact he didn’t come say hi but he was talking with someone else and Harry was anything but rude. Selah let Gemma grab her hand leading her to where Michal was. Mitch joined back quickly with her drink and wouldn’t keep his hands off her.

He’s usually pretty lovey dovey with everyone once he’s gotten a little bit to drink but this was a bit more outlandish for him. Selah played along with it and she thought she saw Harry give them a look but someone walked in front of him and he wasn’t looking at her anymore.

Selah is at the food table making a plate of cheese and crackers with some fruit and mini meatballs when she smells an all too familiar cologne and an all too familiar touch on her back.

“Before you dig in, I have something to give you,” Harry says lowly in her ear.

Selah turns her head sharply then gasps when she sees how close Harry’s face is to hers. She gulps then nods. Keeping his eyes strained on her, with one hand he puts her plate down and with the other takes her hand.

He leads her through the kitchen out into the small garden joined to his house. It’s decorated with fairy lights and it smells of fresh pine, which is odd because that doesn’t grow in LA.

“It’s out here?” she scrunches her nose.

“It’s quieter, don’t you think?” he grins back at her then stops her right in the middle of the small area.

“I guess,” she sighs. “I didn’t get you anything, Harry, I’ve been so busy flying home and getting presents for everyone else I just—“

“You don’t have to get me anything, love,” he shakes his head then picks up a pretty flat wrapped gift from a bench. He places it in her hands delicately. “Merry Christmas, Sel.”

“Merry Christmas, Harry,” she smiles then rips into the gift. She gasps, her eyes darting up to Harry when she sees what the thin box consists of. It’s the newest Macbook. “Harry this is—“

“It’s not too much, it’s just enough. You deserve a good writing tool, especially with your book coming along,” his green eyes twinkle.

“I’ll pay you back, I promise!”

“You don’t payback for a gift,” he chortles. “It’s yours. Merry Christmas.”

Selah sets the gift gently down on the bench behind her then throws her arms around Harry’s neck. Her toes rise off the ground as he hugs her back, his arms tight around her waist.

“I love it, thank you so much,” she says into the collar of his sweater.

“You’re welcome.”

They release their hold slowly, his eyes flicker down while hers flicker up. The air between them fills with static, something electric hangs in the air.

“Mistletoe,” he grunts tightening his hands on her waist.

“I don’t—wait what?” she asks puzzled.

“We’re under mistletoe, love,” he hums.

“Oh?” she squeaks. “Who put that there?”

Harry smiles at her petulance reaching his hand up to cup her chin with his thumb, he rubs her chin gently stroking up her cheek.

“I think the man of the house had an agenda.”

“That’s the narcissist in him,” she hums as he leans in closer, a chuckle escaping his lips.

She closes her eyes smelling the cinnamon and eggnog on his breath. Her heart is pounding loudly in her ears as she becomes hyperaware to everything he does. His nose bumps hers then his lips are soon to follow.

There’s a small pause as he waits for her to pull away but Selah is frozen. So Harry continues connecting their lips in the softest kiss she’s ever experienced, his lips mold hers into what he wants and she’s pliant under him. Where he leads she’ll surely follow.

At the touch of his tongue slipping over hers she lets out a quiet moan and kisses him deeper. Her fingers curl into his soft brown locks like many times before when he’d be lying on her lap complaining about a migraine. This is so much better.

Harry gets more excited as the kiss continues, he parts his mouth open welcoming her soft tongue and pushes her against the edge of the doorway to the gazebo garden. Selah grunts at the impact and he mumbles out a ‘sorry’ connecting their lips again. His hands travel lower on her waist until he feels the hem of her dress and the fishnet tights.

He squeezes her thighs hoisting her in the air and her legs wrap around his waist so she doesn’t fall on her butt. A surprised squeak at the sudden movement escapes her lips and Harry smiles at her cuteness.

“I’ve got you, love,” he grins and gives her thighs a squeeze for good measure. Her legs clench around him and Harry desperately wants to take her upstairs to his bedroom and have his way with her until New Year’s Day.

“We’re not under the mistletoe anymore,” she sighs stroking his stubbled cheek and the birthmark.

“You want me to stop kissing you?” he huffs cocking his head to the side. His green eyes seem dark in the lowlight but she knows him well enough that he’s anything but dark.

“No,” she murmurs through a smile.

“All right then,” his eyes dance mirthlessly as he presses his lips to hers again.

Selah’s heart is soaring, her fingers are tingling and her lips are zinging from kissing Harry like this. It’s everything she’s wanted and more. She never wants to stop.

Until they do when there’s a loud pop of champagne from the kitchen and they break apart in shock. Selah knocks her head on the windowpane and squeezes around Harry who grunts at the impact.

“Ow,” she whispers.

“Are you okay?” he asks setting her back on her feet carefully. He cradles her head delicately, the cool of his rings feel nice on her temples as he inspects her.

“Yeah, I’m good,” she nods then giggles at him.

“What’sso funny?” he smirks.

She continues to snicker and rubs at the top of his lip. “My lipstick is all over you, H.”

He rolls his eyes. “Not my color, eh?”

“Not like this,” she snickers trying to rub it off. “You’ll have to use soap.”

“Where’d Harry and Sel run off to?” Mitch shouts.

“Your boyfriend’s gonna be mad if he finds us,” Harry grumbles tucking her hair behind her ears.

“What’s that supposed to mean?”

“He’s been over you all night, hasn’t he?” his dark brows furrow into an angry line.

“It’s nothing, Harry,” Selah rolls her eyes. “You know how he gets when he’s drunk.”

“He wasn’t drunk when you got here,” he shakes his head.

“O . . . kay? What are you saying? You brought me out here to kiss me and stake your claim because some other guy was showing me attention?” Selah pushes him away from her angrily.

“N-no! That’s not what I—“ he closes his eyes and exhales deeply through his nose. It’s his calming mechanism.

“That’s low, Harry, even for you,” she scoffs and tries to sidle past him to leave.

“Selah Grace, listen to me,” he uses her full name grabbing hold of her wrist spinning her around. She smacks into him and tries to push away from him with her small hand on her chest.

“Let me go!”

He grabs her other wrist pinning her fighting arms against her body. He ducks his head so his eyes are level with hers.

“That was a dumb thing of me to say,” he confesses. “You aren’t something to ‘stake a claim’ on, Selah. I just . . .” he closes his eyes then opens them again with a big breath, “I did have this planned. The gift, the mistletoe, it was all a plan to try and kiss you if you’d let me. Hearing him just made me think of how he has been all over you.”

She’s fuming silently, her lips in a scowl and her eyes hard. If he didn’t know she was mad at him he’d tell her she’s adorable as fuck when she’s mad but he’ll tell her that some other time.

“And that bothered you?” she asks quietly.

He licks his lips and nods. He slowly releases her wrists bringing them up to his mouth, he kisses the soft skin inside each wrist. His green eyes pleading her forgiveness.

“I’m sorry,” he mumbles on her skin.

“You’re lucky you look like a dork with that lipstick on or I wouldn’t forgive you,” she says icily. He continues to kiss up her wrist and into her palm, his eyes on her.

“And because you fancy me,” he smirks now kissing her fingertips lightly.

“Shut up,” she scoffs rolling her eyes. “Go wash your mouth, Styles.”

“Can you help me?” he grins mischievously.

She leans up kissing him quickly, his lips chase hers as she answers with a simple, ‘nope.’ With a grin she skips behind him and picks up her laptop holding it to her chest.

“Better hurry before my boyfriend sees,” she smirks then leaves him standing there in disbelief.

Taglist: @calpalirwin @thecurlsofgod @myloverboyash @rotten-kandy @tea4sykes @jannimoeller3 @loveroflrh @iovehemmings @cxddlyash @princesslrh @katiaw2 @g-l-pierce @fairyintheglass @gosh-im-short @lukeisbaby @spicycal @mysticalhood @notinthesameguey @wastedheartcth @itjustkindahappenedreally @calumance @babylon-corgis @thew0rldneedsmcreycghurt @lanternlover2 @istaywithmyjonas @calteahood @sarcastically-defensive17 @another-lonely-heart @devilatmydoor @frontmanash @philthepegacorn @mantlereid @lukedorkyhemmings @addietagglikesbands @kikixfandoms @sanrioluke @mayve-hems @morguelth @haikucal @thatscooibaby @meghanrose05 @idontneedanyone @dinosaursandsocks @haveufoundwhaturlooking4 @suchalonelysunflower @burstintocolor @zhangyixingxing1 @dead-and-golden @mymindwide @everyscarisahealingplace @stardust-galaxies @blackbutterfliescal @redrattlers @lovelybonesetc @karajaynetoday @quasighost @i-like-5sos @creampiecashton @calpops @superbloomed-c @ophelia-enthusiast @iknowyouthinkimbulletproof @flaneurcth @dariangarcia

#harry styles oneshot #harry styles fluff #harry styles writing #harry x OC

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jamaiskookie · 4 years

Text

mutuals (pjmxreader) [bonus:celibacy]

~mutuals~ [youtuber!reader x idol!jimin] social media AU

synopsis: park jimin is a (slightly problematic) idol singer, and he becomes completely smitten with a youtuber after stumbling upon her dance cover to his own song.

genre: fluff, a good dosing of cracK, literally two seconds of angst blink and u miss it

word count: 2.3k

[A/N]: thank you for all the love you’ve given mutuals! can’t believe it’s only been like one week since this blog has been up hehE enjoy this drabble of thirsty!jimin after he found your video. if you have no idea what i’m talking about gO READ THE FIRST CHAPTER

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When JinHit first hit record sales with the success of Jimin’s mini album, and RAPLINE’s first title single a couple years ago, Jin finally gave in to Jimin’s begging and gave all the artists their own personalised studio in the JinHit building. It’s where all the greatest hits on the charts are written. It’s practically the modern eighth wonder of the world, considering the names and talent that have graced the walls.

Jimin, Yoongi, and Namjoon all have their separate studios to write, produce, and record in, and all three of the small rooms are located next to each other. Partially because of design and common sense, but also so all three friends can conveniently annoy each other when needed. Jin’s office isn’t too far away either, just across the floor. Usually, if they’re all working in the studio, they’ll walk over to Jin’s office during lunch hour and leech off his amazing personal pantry in his office. The office is much, much bigger than their studios, and Jimin never fails to remind Jin that.

All three artists have grown a little attached to their studios. It’s where they do what they all love most, after all. Yoongi barely lets anyone into his ‘Genius Lab’, and ever since a staff member accidentally messed with his coffee machine, he hasn’t let anyone step foot in. Nobody’s even allowed to come inside Namjoon’s studio during what he calls his ‘namjoon talent time’ which is basically just a period of time before comeback season where he locks himself in the studio, writing music 24/7.

He occasionally asks Jimin to listen to his unreleased files for suggestions, but other than that, noone except Yoongi goes inside his studio during ‘namjoon talent time’, and Namjoon only reluctantly lets him in as his bandmate. Not that Jimin minds, he hasn’t been let inside since he accidentally mistook Joon’s studio for his own and brought one of his one-night-stands over. Joonie was horrified, and made Jimin sanitise, wash and clean every part of the room, all while he cried about how his ‘baby was molested’. It was traumatising for both parties.

Out of the three, Jimin’s the least protective over his studio, even though he’s the one who put the most effort into it. He’s spent years perfecting it, making it the best place for inspiration and writing music. Everything in the studio has been personally chosen and thought out by him. The snacks and custom mini fridge, the wall of his entire discography, trophies, music awards, and his personal favourite, the official JIMIN logo sign above the couch.

It lights up in purple.

Despite being a pretty stereotypical assholey partying douche idol, Jimin’s likes to think he’s actually quite talented. He’s been named ‘Most professional idol’ on every single online survey he can find (He’s also always voted for ‘Most handsome’, but that’s besides the point), and it’s true. Jimin never sells himself short. He is a professional musician, singer, and producer. He writes his own music, choreographs his own dancing, and uses his platform to spread positive, meaningful messages. There’s a reason he’s so internationally successful, and it’s because he’s talented.

Maybe right now isn’t a great example of his talent. Jimin was in his studio, holding his head in his hands. Sure, he’s a globally recognised and accomplished songwriter, but to be honest, he hadn’t written a single piece of original JIMIN music since he wrote ‘Filter’ with Namjoon months ago. He was in the biggest creative slump in his entire career. He had tried almost everything, co-writing, exercise, music samples, playing around on instruments. Hell he even tried music therapy. Whatever melody he tried to create, whatever lyrics he tried to write, it all came out sounding like garbage.

Yesterday was a little bit of a blow to Jimin’s ego. It was three in the morning, and he’d been in the studio for seven hours, with only one verse written.

I love to let loose,

Have you ever tried eating moose?

It’s all so bananas,

Tony fucking Montana.

Yeah, it’s pretty embarrassing. It’s not even a verse, it looks more like a kindergartener’s attempt to write poetry. For the first time in his life, he doesn’t really feel like writing music or putting his thoughts in a song. Jimin is just plain out of ideas. He has nothing to write about. And if he doesn’t have good content to put out, he’d rather not put anything out at all.

But he still hates it. All his life, he’s coped by writing, singing and dancing. This writer’s block has been too frustrating. Too many sleepless nights and crumpled papers have been wasted over it, with no progress or music in result. Plus, Jin might be one of his closest friends, but Jin was also a boss, and he still needed more tracks for Jimin’s big comeback, happening end of the year.

He can’t help it. Jimin has nothing left to write about. He opened one eye when he heard the distant ding of his phone coming from somewhere in the studio. Grumbling incoherently, he opened the notification, to find… you.

Jimin’s mouth was hanging open the entire video. His eyes twitched the tiniest bit and he almost dropped the phone when you said his face was “decent”, but he had to watch it again, because the first time around, he didn’t hear a word that came out your damn mouth. He was otherwise… preoccupied. No matter how much he tried, he just couldn’t tear his damn eyes off the screen. Curse Min Yoongi for sending him this.

He even cringed when he had to bring his sleeve up to wipe the tiniest bit of drool off his face. Practically salivating. What the fuck? How old was he? He was Park Jimin, why was he popping a boner from watching some stranger on the internet dance to his songs? He’s been in the industry for way too long now, he was practically immune to scantily clad women prancing around him. So why he completed concentrated on your stupid little crop top? Not to mention, you were practically insulting him at this point. What was so special?

For one moment, Jimin forced his eyes off the screen, wondering if the sleep deprivation had really affected him that much, or if this was another side effect of the writer’s block he’s been having. It’s the partying ‘clean act’ ban Jin’s been forcing me to go on, he thought, even though Jimin wasn’t totally convinced of that. (Despite swearing not to, he looked straight back to down at his phone afterwards to reply the video.)

He was so fixated on the screen, he didn’t even notice when Yoongi flung the door open and walked inside. Jimin only lifted his head when he heard Yoongi’s obnoxiously loud groan.

“What- When did you get here?” Yoongi recently went back to a fan-favourite hair colour of his, and Jimin was still not used to seeing him with bright mint coloured hair. In his opinion, he looked like a highlighter, but Yoongi seemed to not mind it.

“I’ve been standing here for the past two minutes, drinking my coffee. The fuck you watching on your phone that’s got you drooling?”

“NOTHING.” Yoongi narrowed his eyes, and before Jimin could even move away, he managed to snatch the phone away from Jimin’s hands.

“What the fuck- how? You know, this is why your fanbase thinks you’re a cat.” Yoongi ignored his words with ease. “Oh my god,” He said. “Are you watching the video I sent you? I didn’t expect you to actually watch it.”

“I always watch my fan’s videos after a comeback!” Jimin insisted, clawing upwards to steal his own phone back, but Yoongi kept slapping his hands away.

“Yeah, but this isn’t a fan. This is just like, one of your fanboys and a girl roasting you.” Yoongi stared back at Jimin suspiciously when he tried to defend himself. “Why were you watching this girl dance like a starving man, Chim?”

“Just, because- what- I was nOT watching her like a starving man. Don’t look at me like I’m some kind of a pervert!” Jimin finally managed to grab ahold of his phone again, and he threw it behind him on the couch, away from Yoongi.

“Hyung,” He sighed. “I think maybe it’s Jin’s new ‘clean, good boy’ rule. Along with this stupid fucking slump I’ve been having these days, I just don’t feel great, okay? So don’t be so fussy with me. I can’t write, I can’t party… If I want to ogle over some random girl on the internet, I will.” Jimin cringed once the words came out of his mouth, but Yoongi slowly nodded, sitting down on the couch.

Min Yoongi may be a little too gay to understand Jimin’s womaniser ways, but the frustration behind not being able to write music, that, he understood. “You’re trying to justify being a perv by using your mental problems, but I’ll talk to you about that later on.”

“Chim, we all have our slumps. It’s honestly a wonder that this is your first serious creative block. Me and Joon, and every single artist in the world, is bound to go through that at some point. It’s not the end. You’ll still be able to write good music soon, you’re a good writer.” Jimin refused to meet Yoongi’s eyes, even if what he was saying did make a little sense. He just chose to stay silent.

“You just have nothing left to write about. You can’t keep living like this though, Chimmy. It’s unhealthy.”

“What do you mean, unhealthy? I’m perfectly fine, thank you.”

Yoongi stared at him deadpan, gesturing to the entire state of his studio. “It’s a complete mess in here,” He said. “Plus, I don’t think you’ve left this studio for days. The others may not want to say it to your face, but we’re all a bit worried about you. Stop forcing yourself to ingest all these redbulls to try to keep writing.”

“When inspiration comes, it’ll come. You can’t force it, it doesn’t work that way. What you need, is a break. Go back home for once, maybe visit your mom. And for god’s sakes, take a shower please. Trust me, okay?”

Yoongi doesn’t like admitting it, but he’s the most caring one out of their friend group. Anyone can tell from the look in his eyes right now, that he’s genuinely concerned about his friend. He’s also the one with most sense, but Jimin will never tell him that, because his advice, no matter how sensible, is useless.

All he’s known is singing, writing, and throwing himself in work. To just stop? Even if it’s to take a short break, it doesn’t feel right to Jimin. Instead of telling Yoongi his problems, he just poked his tongue in his cheek. If lightbulbs actually popped up above people’s heads when they had a good idea, a massive one would’ve appeared on top of Jimin’s.

“I’ve got it!” He said, excitedly. Yoongi sat up straight. “You’re going to take my advice for once?”

“No, of course not, Hyung. Don’t be silly.” Yoongi slouched his back again, closing his eyes.

“I’ll just hit this girl up!” Yoongi’s eyes snapped open.

“What.”

“Yeah! Who knows, y’know? Maybe I’ve been keeping myself to Jin’s rules a little too well. It won’t hurt the company if I let myself go just once. Blow off some steam, come back fresh and recharged.” Jimin rubbed his hands together like a bad Disney villain.

“It’s too early for this.” Yoongi whispered, pinching the bridge of his nose.

“It’s three in the afternoon.” Yoongi ignored him.

“You really aren’t going to take my advice, huh.”

“Nope!” Jimin said, popping the ‘p’ annoyingly.

“You promised Jin you’d go celibate.”

“I said I’d clean up the partying act. I don’t recall taking a vow of celibacy.” Yoongi just sighed, and fell back down on the sofa, mindlessly sipping at his coffee.

Jimin hesitated. “You’re not going to… tell me not to? Or give me another one of your eco-feminist speeches again?” Yoongi shrugged.

“You’ve heard it too many times. Plus, I have a feeling this is going to be funny.”

“Funny? Hyung, what part of this could possible be funny to you?” There was a brief pause filled with awkward silence, before Yoongi blinked slowly.

“When she rejects you, of course.” Jimin threw his jacket, aimed straight for Yoongi’s head. His stupidly fast cat-like reflexes managed to dodge it, but Jimin scowled at him nonetheless.

“She’s not going to reject me.” Jimin walked over, picking up the very same jacket he threw at Yoongi, before plopping his sunglasses back on his face. “No woman has ever managed to reject me before, and I intend on adding her to that list.” He pursed his lips.

“Plus, she’s super hot. Great ass. Attractive people attract attractive people.” Jimin turned his phone back on once more to sneak one last peek at you in the thumbnail of the video, before stuffing his phone into his back pocket. “I just need to get it out of my system. This might be what I need to get me out of this creative rut!”

He could’ve sworn Yoongi muttered something under his breath, something along the lines of ‘fucking asshole’, but he chose to ignore it.

“Alright, well, see you, Yoons!” Jimin practically skipped out of the studio, startling the producer’s assistant outside with his slightly disturbing enlarged grin.

“Don’t come crying to me when she refuses to get in your pants, you fucking diva!”

Jimin continued walking towards the elevator, but he threw up his middle finger behind him.

“DON’T RUIN MY EXIT, BITCH!”

[taglist:] @notmontae97 @lucedelsole97

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markwatkinsconsumerguide · 3 years

Photo

Consumer Guide / No.111 / American musician, Barbara Markay, with Mark Watkins.

MW : Why decide (initially) to switch from making classical music to pop?

BM : It happened during my first year at Juilliard College toward the end of the school year. It was in their new building at Lincoln Center, and I was practicing the piano in one of their practice rooms on the 5th floor, which had windows and a beautiful view of the streets below and the whole Lincoln Center area. I was taking a little break, and was looking out the window and thought to myself that I should be down there experiencing life and meeting interesting people, instead of practicing piano all day long! I had gotten into the Juilliard prep department / pre-college division when I was 10 years old, and had been a classical pianist for a long time. Maybe it was time for a change!

After that day in the practice room, I started to think about this more and more, especially every time I got a practice room with a “window on the world” so to speak. I started to think about all those people walking around on the streets, and who among them was actually going to be interested in listening to classical music. I thought that I might be wasting my musical talent on my present studies as a pianist and composer, and that I was much more interested in talking to people and finding out what they were thinking and why they said and did the things they did.

I became more and more interested in writing lyrics, which turned into my first pop songs. I realized that I could communicate the music I had inside me via pop music better than just performing classical music, because I could write about the whole new exciting culture of the times with no narrow, preordained musical style restrictions, or older musical rules. I could write and say whatever I wanted to! It was a brand new world for me! And so much fun! I still appreciated and loved classical music, and graduated from Juilliard college at the end of the four years, but I was now writing these funny, risqué, pop songs, just piano and voice, and everyone I played them for loved it!

We had academic studies as well as music classes as part of our program, and one of these classes was English literature, which I suddenly was great at. I don’t know where this understanding of human beings came from, or my love for reading English literature, but one day my English teacher, Beatrice Taub (who also taught at Columbia University), asked me after class if I really really was sure, that being a classical pianist and composer was really what I wanted to do with my life, because I was exceptionally good at literature. She suggested that I might take some extension classes at Columbia University to explore it further, maybe transferring to Columbia eventually.

It was then that I realized that these songs I was writing were going to be a better career path for me because they involved both writing and music, and I got that encouragement to continue with pop music. There was also another class I took that the music students would take together with the actors, that also was encouraging me to continue to write pop music.

Some of the people in my class were destined to be really famous actors, and one of them was Robin Williams. I felt more at ease in this class because they were mostly all actors, and had broader interests than the music students, I felt. Robin asked me one day to play some more of my songs for him, because he wanted to do a show out of them. He said he just loved the humor and the music I had put to the songs. He said he wanted to do some kind of a musical review with it. He was very funny even then. Just a natural comic, but also a great actor. Nothing came of it at that time, but my songs were eventually made into many musical reviews years later.

That was the beginning of my pop musical career.

Christopher Reeve, Kevin Spacey, Christine Baranski (1974), Kelsey Grammer, Kevin Kline, Patty LuPone, William Hurt, and more, were all actors who were part of the new acting department at the new Juilliard building at Lincoln Center. Eventually, years later, they would put in a classical guitar department, and a jazz department, which would have been unheard of before the new building came into being. Before these new times, Juilliard considered classical guitar to be “folk” music, and jazz wasn’t even on their radar. I guess someone was thinking like me, and these other forms of music needed to be heard and expressed as well as traditional classical music. So I think it was in the 1980s they got Sharon Isbin (fabulous classical guitarist) to head up the new guitar department, and Wynton Marsalis to head up the new jazz department to get these new genres started at the new Juilliard.

So much for my very formative Juilliard years!

These early songs were part of my piano & voice comedy act that was very popular at the time. A lot of people compared me to being a musical Joan Rivers. ‘It’s All Rite’ was part of this set of songs. I went to the UK on vacation soon after graduating college, and met Lee Allen, a music promoter with Carousel Artists (I think that was the name of his company) who booked me on a college tour of England and Ireland. Eventually, I put a small group together and performed everywhere. I played at the New University of Ulster, Belfast, and I opened for 10CC at, I believe, Kings College in London, and played many other colleges as well. What a great time I had, and everyone really liked the songs, including the risqué ones! And I just loved England! But then it became time to return to the states.

MW : Where does your music fit in terms of categorisation / the music scene?

BM : It wasn’t until the mid-1980s that I started writing more serious pop songs, not the early comedy stuff anymore. That was just after I had put out ‘It's All Rite’, the 12” dance, salsa single version of the song, and it was such a huge international hit. After that, I got interested in metaphysics - the invisible world so to speak - and more philosophical and spiritual matters. I found my first and very great meditation teacher, Anne Elizabeth Cooper, in New York City, and studied metaphysics with her for two years. It absolutely changed my life! I developed a totally different point of view of everything! I started writing songs more along these lines, and also songs about how people relate to each other on deeper levels. I needed to grow as a writer and artist, so this new path I took expanded my views of life and consciousness level.

Some of my early pop albums like Change To Come and Heart Like A Song contain some of my favorite and most prized songs, like ‘Still Need You’, ‘Change To Come’, ‘I Am The River’ and ‘Fallen Angel’ from the Change To Come album. And from the Heart Like A Song album, my favorites are, ‘In The Silence’, ‘You Are What You Believe’, ‘Hands Of The Artist’ and ‘All That I Am’. You can tell by just the titles how I had shifted focus and had finally grounded myself in more meaningful songs that brought in a brand new audience.

After those two albums. I continued expanding to world beat grooves with the Shambhala Dance album, which won best dance/dub/club album of the year (New Age Reporter finalist 2005 Lifestyle music award!). ‘Atlantis’, the first cut on the album, got great reviews and lots of airplay, even today it’s still being played. It’s been called “a meditation through movement”, and, “an exotic voyage of mysterious flamenco, Asian and middle eastern melodies, full of powerful world beat grooves beautifully blended together to create an atmosphere of intense, vital emotions both sensual and meditative at the same time” (Wind and Wire magazine, April 2005, Bill Binkelman).

I continued exploring different styles with a meditation album, Heaven And Earth, which is a continuous 50 minute meditation. I got and still get a lot of plays in the yoga studios and meditation classes with this one and the Shambhala Dance album. But you can see how my shift to more metaphysical and spiritual music has carried me into these different, but related styles. I even composed a musical rendition of the ancient, venerated prayer, ‘The Great Invocation’, given to humanity by ascended Tibetan master Djwhal Khul. I have shifted styles as I matured and explored a more expanded and deeper understanding of what I wanted to express musically.

MW : How are you using social media to stream / promote your music on platforms such as Spotify, iTunes etc?.

BM : It’s great! You can see all of the albums and singles I’ve done on Spotify, iTunes, and the other streaming services right away. So can all the other artists who put content out there. Everyone had to switch to streaming for the great international exposure. There’s nothing like it!

MW : Two of your early records were banned. Did you set out to challenge the mainstream with titles ‘It’s All Rite To F*ck All Nite…’ and ‘Give Your Dick To Me’?

BM : I was never really “banned”. What happened is that I produced the first 12” dance single version of ‘It’s All Rite’, and took it to all the record labels, which were mostly all in New York at the time. Everyone absolutely loved the record! Everyone absolutely wanted a few copies for themselves and their friends. But nobody had the balls to put it out into the market!!!! They were all afraid of repercussions, censorship, and their reputations! So I decided that I would put it out myself, something nobody had done at the time! I thought the record needed to be heard. I found a pressing plant in New Jersey, who were fine with pressing it up, then I went to an art store and got some “press type” and designed my own album cover. I got a friend of mine to take a picture of me, and voila! I had an album ready to go. I had no monies to promote the record, only just enough to record it and press it up. I figured that if I could get it heard by some people, maybe I could get some interest in it and maybe sell a few copies.

At that time, in New York and across the whole country, there were record pools, which were organizations of DJ’s who played the music in the dance clubs. I sent a 12” record (CD’s hadn’t been invented yet) to a list of record pools around the country, and to my surprise, I got a great response. Everyone wanted a copy to play. It was a salsa dance groove, something kinda new for mainstream clubs at the time, but the song was funny and danceable so everyone liked it and wanted to hear it. This was a time when you couldn’t get any airplay without a record label behind you. It was payola all the way. But what I could get was club play, and these DJ’s kept asking me for more and more records. And now people were asking the DJ’s where they could buy the record. So I had to get a distributor to put the records into record stores.

By this time, the record was being played in most all the clubs in the United States, but with no place to buy it. My first thought was to go to Sam Goody, one of the biggest record stores in New York at the time, and see if they would sell the record. They said yes, showing me a copy of some dance/club charts they had in the store that said that the record was #1 on the charts!!!!! I had no idea about these separate dance/club listings and was really excited that it was already charting. But there were about five dance charts around at this time, and ‘It’s All Rite’ was #1 on all of them! It stayed #1 for about five or six months in a row! It was a sensation! This started in about May of 1978, or 1979, I think, and ran thru September. Sam Goody gave me the very hard to get whole window display of my record, so did Colony records, another big record store in New York City at the time, and the rest is history! Other record stores followed.

Soon I realized that I needed a bigger distributor, so I contacted several in all the sections of the US, like the South, the Midwest, North Central, East Coast, West Coast, etc. They kept asking me for more and more records. I couldn’t figure out where the records were going. So one day I called my local one stop guy in Long Island City, and he said they were all going overseas. I asked where overseas, and he said, “Everywhere! Especially Holland.” Apparently, 12 miles off the coast of Holland was a ship that had a radio station broadcasting from it, and they could play anything that they wanted. My record was the number one request! Nobody could do anything about it to stop them, because they were in international waters. 12 miles out!!!

Since this was my first big hit, I was inexperienced as to what I needed to do next. It wasn’t too much later, about December of that year, I got a call from WEA International in Holland (Warner Brothers, Electra & Atlantic records all together) who said they wanted to license my record. It sounded great to me, so I took the deal. They published it in Europe, South America, England, Japan, Asia, etc. and promoted it in all the clubs. And I finally got legitimate airplay on it, because on the “B” side I had recorded the “clean” version, called ‘It’s All Rite To Truck All Nite’. Lots and lots of airplay everywhere! Finally!

It became #16 on the Billboard pop charts in the Benelux countries, and #2 on the charts in Paris, Michael Jackson being #1 at the time. WEA asked me for another single to put out, and I gave them, ‘Give Your Dick To Me’, and that was also very successful. I did the same thing with the “clean” “B” side, ‘Give Your Flesh To Me’.

So the bottom line is that if you have a record that everyone wants to hear, nothing will stop it from being heard. The people decided they wanted to hear ‘It’s All Rite’, and it squeezed itself through the cracks to be a big hit. Also, it started a new trend in music of what could be heard and played. Several DJ’s told me that I had really done something BIG with that song. They said it changed the music business forever! It opened the door for new things to come into the market, and then the people could judge for themselves whether they liked it.

Now getting back to your original question about being censored/banned, I really didn’t have any criticism for doing the record. People just wanted to get a copy of it and enjoy it. And I didn’t set out to “challenge” the system. I was simply expressing my views on what people were really thinking, and I did it via a danceable, funny, comedy record. I was just having fun!

Now, a lot of people took it seriously, literally, and that’s ok. Everyone has their own interpretation of things. That is what Art is for. To make people think. And that is what, ‘It’s All Rite’, did. It made people think, laugh, dance, party, and feel good! Remember, this was a time when Lenny Bruce had set a new standard, Joan Rivers was on the scene, along with Richard Pryor, George Carlin, etc. By the time I came along I took it all for granted that I would be able to put this record out. I wrote it when I was 19 years old and still in college, so that’s what you write when you’re that age. I didn’t care at all what people would think about me or this song!

Nobody I was aware of wrote anything negative about this “outrageous” song. One of the many reviews I got for my act (when I was performing all my funny songs with piano & voice around town in the late 1970s) was from Michael’s Thing, an LGBT magazine, New York City’s #1 weekly entertainment magazine and “going out guide” with reviews, comics, of all the performances, Art in the city, new and noteworthy etc. which said about my act, “…...she (Barbara) makes you laugh while she stabs you in the back!” I got nothing but praise for putting this song out! The LGBT community loved what I had done and fully supported me, along with great reviews from the Village Voice, and a nice write up from Billboard magazine by Roman Kozak. I also played at Huey’s Bar, a gay men’s bar, on Hudson street (west side of New York city near the Hudson river) for several months, through that whole summer, just piano and voice. It was a big hit!

MW : Tell me about your involvement with Carly Simon’s Coming Around Again album?

BM : I was doing synthesizer programming for a few of the songs on the album. The arranger I was working with was doing some arrangements for her new album, and I got to do some of the synth programming. It was lots of fun to be involved and to go to the recording sessions.

MW : …and the Michael Jackson (BAD) video…. also include any thoughts on Jackson’s charisma, ability (song & dance)….

BM : I never got to meet Michael Jackson, but I did get to meet Martin Scorsese who was really really interesting! He was asked to produce the video for the song. He came up to the office one day to discuss what kind of extra scored music was needed for the BAD video, music before the song started, and after the song was through. He was very intense, a real thinking kind of guy, and someone who knew what he wanted. He also has a great sense of humor! He impressed me as someone who really knows people. Meeting Scorcese was actually more exciting for me than meeting Jackson as he’s a real character!!! A mature adult!

MW : You’ve worked with Bruce Willis as a backing singer. Tell me about those times … also include your views on his abilities as an actor turned singer…

BM : Bruce Willis is a really great actor, and can play almost any part. That includes as a blues singer. The show we did was as his backup singers (along with two friends of mine) for the opening of the new Hard Rock Café in Austin, Texas. It was a very long day, full of rehearsals on stage with the band, and waiting for Bruce to arrive. As we tested mikes and stage positions, we could see a huge crowd starting to form in order to get a good view of the coming show. The press was there, and reported close to 100,000 people waiting to see this opening.

Bruce eventually got there, extremely exhausted. By the time the show started it was dark out, and everyone was excited. Then came the big moment when Bruce Willis came on stage, and everyone went wild! The band started to play and he started to sing. I was shocked by how well he could sing, and put over a song. It was a real “performance”.

He may not have all the technique of a “professional” singer, but what he has is better. He can make you get into the song, feel the song, …it’s not really the voice but the performance that’s spectacular. So close up to me. I could really see why he’s considered one of the great actors of our time. Acting, singing and performing are all connected. And he puts it all together beautifully.

MW : Describe a typical weekend….before lockdown and during…

BM : Well, I used to love to go to the ocean and watch the sunset a lot, then meet my friends for dinner in one of the great restaurants by the beach or in town. Before lockdown there were great movies to see, not just at home (these days) but at the real movie houses. Plenty of them around in the “old” days. During lockdown everyone has to stream movies at home. At least streaming is safe!

I also used to like to work out at the gym, but you can’t do that yet, so I’m hoping that sometime in the near future that will become viable again. Sometimes it’s fun just to take a ride up pacific coast highway and breathe in the sea air and see the beautiful scenery. You can still always do that.

There are lots of farmers markets around town, so I always go on the weekends to shop for fresh, whole, organic fruits and veggies! That’s always fun, and sometimes I go with my friends too.

Eating good, fresh, organic foods is my entire “Health Plan”! You are what you eat! So far, so good! And I can do this all year long. And during this lockdown, we just all wear masks. It’s fun being at the farmers markets and seeing all the chefs from all the great restaurants in town shopping for their weekly recipes with those big shopping carts they push thru the market. They buy whole boxes of produce and everything else sold there.

MW : What is your favourite…Carly Simon single?

BM : I think that would be ‘Mockingbird’, especially the 2015 remaster. James Taylor sounds great on this, and the two of them together just fit together perfectly. This remaster is from Songs From The Trees (a musical memoir collection). I’m glad they did this, because this is a classic! You can hear all the instruments clearly, the voices are very present, and the whole thing is a pleasure to listen to. Musical tastes change, but the classics will remain with us from “gentler” times.

MW : AND your favourite… Bruce Willis film?

BM : (I can’t choose just one!)

The Whole Nine Yards : hysterically funny!!! I laugh every time. The Fifth Element is a real classic! I see it again every time it’s on TV. Bruce Willis is fantastic in that “deadpan” character he plays. And the score by French composer Eric Serra is superb. Hip, powerful, rhythmic, smooth, jagged, everything needed to match the screen scene.

But the music stands alone if you just listen to the score by itself without the movie. I think they sold a lot of the music score. The Sixth Sense - so powerful, and metaphysical! It’s right up my alley! And Bruce Willis has a knack for finding well written screenplays! That’s a big key to the success of the movies he’s in.

And since they’re so well written, he has an opportunity to really show off his talent and get into those great parts.

MW : AND your favourite… Michael Jackson album?

BM : I think I like the Thriller album the best. I love the songs, especially, ‘Beat It’, ‘Thriller’, and ‘Human Nature’. And it was so well produced by Quincy Jones, with pounding gritty grooves, and great songs.

MW : List, in order of preference, your Top 10 singles & albums of all-time…

BM : (I have the original CD’s of this music, and still call them CD’s, but I’m sure this music is all streaming/downloads by now!)

1. Famous Blue Raincoat: songs by Leonard Cohen, studio album by singer Jennifer Warnes: exquisite, perfect singing of songs with her crystal clear voice! What a superb collaboration this was! I wish they had made more albums together like this one! A true classic! When I first heard it I couldn’t believe what I was hearing! Songs so well written, songs with a real message, and so well sung and produced.

2. I also love Leonard Cohen’s, ‘Hallelujah’, sung by anyone! It gives me chills every time! Powerful and hauntingly beautiful! The best cover of it that I love is K.D. Lang’s version. (I think it was on her album, Hymns Of The 49th Parallel, 2004).

3. Bach: Sonatas & Partitas: violinist: Itzhak Perlman: The sub-title of this 2 CD set put out by EMI classics says it all: “Great Recordings of the Century”, which is aptly titled!!! I can listen to this album at any time, and it will put me into a deep trance. I can’t stop listening.

Itzhak Perlman is an absolute master of the violin, and these solo compositions are not only some of Bach’s finest works, but Perlman’s rendition of them is flawless. He understands what the composer was trying to accomplish, and every time I listen to this it feels like he is showing us the true soul of humanity! The longing, the passion, the “reaching to the Light”! The thing about this kind of classical music is its very high vibration! I think it does make you smarter!

4. Then we have Jorge Aragao and his live album entitled Ao Vivo (which means “live”). Another album I have listened to for years. He’s a Brazilian singer/songwriter, and the songs are all sung in Brazilian Portuguese. But don’t let that stop you from listening. It’s exciting, passionate and very well recorded. It has the whole flavor of Brazil in it! Recorded in 1999.

The last song is a great rendition of ‘Ave Maria’. A true classic! (I took a great vacation to Brazil for a month once in the mid-2000s and this album is the real deal! The Brazilians absolutely Love him!)

5. Edith Piaf: 30e Anniversaire 2 cd set (probably on all the streaming services by now). All the songs are beautifully recorded, written, produced and her voice is extraordinary and present. It gives you the whole culture and passion of the French. It always puts me at a French café with friends and great great food! If you’ve never heard Edith Piaf, it’s well worth a listen.

There was a wonderful movie on her life called La Vie en Rose which I also recommend to get the whole feeling of this music. And I listen to this music often, especially when I’m feeling like there’s no culture west of New York City! She saves the day every time!

6. John Lennon: Imagine: I think everyone knows this is a classic! It’s a positive message!

7. The Eagles: Hotel California the whole album, but especially the title song, ‘Hotel California’: It never gets old!

8. Bach: English Suites performed by pianist Andras Schiff: he’s a Bach specialist, and has a great insight into what Bach intended with this great recording: Part of my regular listening.

9. Buena Vista Social Club: it really gives you the heart and soul of Cuba. I think the reason this album was such a hit when it was first put out is the huge amount of heart, passion, and honesty it evokes. You can feel it’s the real deal. Nothing fake here!

10. And last but not least, two albums that were put out by Putumayo a while back, called Brasileiro and Samba Bossa Nova. They are compilations of several Brazilian artists and styles, including bossa nova, folk, light samba, and I think some other styles too, beautifully put together. They are calming, gentle, rhythmic and haunting, and a great way to wake up in the morning. So many positive vibes! So musical and unpretentious!

MW : Where / what was the best meal you’ve ever enjoyed and what was the company like?

BM : Well, all I can remember is that it was in a Paris restaurant, and I was taken there by a record company executive to discuss publishing my music through a Paris company. I remember she told me that the closer you get to Paris from anywhere in the world, the better the food gets!!!

And I wasn’t disappointed!

The meal was some kind of spectacular steak, mousse au chocolate for desert, and fine red wine throughout the meal. Cheeses for dessert! (that was more dessert after the dessert!) And it was the atmosphere and vibe, not just of the restaurant, but of Paris, and the French people and their culture that I found so fabulous! I love the French and they loved me back!!!!

MW : What can we anticipate coming from you later on in 2021?

BM : I’m currently thinking about something along the lines of my previous Shambhala Dance and Heaven And Earth albums. Worldbeat and with a sleek groove.

It takes time to compose something like that.

It will be announced on my website when it’s done. www.barbaramarkay.com and I will put it out on the streaming services / downloads as usual.

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nerianasims · 3 years

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Billboard #1s 1979

Under the cut.

I discuss Michael Jackson’s life and actions a little bit underneath here. So be warned if that’s something that will upset you.

The Bee Gees -- "Too Much Heaven" -- January 6, 1979

Uugh. When The Bee Gees weren't releasing bad, bloodless, falsetto disco, they were releasing bad, bloodless, falsetto lite "rock." Also the lyrics are about how love is soooo hard to get, so they're special since they have love, and yuck. Nonsense and glop.

Rod Stewart -- "Do Ya Think I'm Sexy" -- February 10, 1979

I laughed out loud when I saw this next on the list. People can't have taken it seriously in 1979, right? It was seen like "I'm Too Sexy", yes? Even though Rod Stewart was a "serious" singer -- come on, this is a ridiculous song. It isn't about the narrator; it's about two people meeting on a dance floor and then going to have what's probably a one-night stand. But when Rod Stewart sings the chorus, it sounds like it's about him. It's a highly unsexy and very silly song.

Gloria Gaynor -- "I Will Survive" -- March 10, 1979

The joy I feel listening to this song. It's the best disco song. The bright piano flourish opens to Gaynor's amazing voice and phenomenal singing ability. She sells her anger at the guy who's "back to bother" her, along with the assertion that she's now totally confident and is gonna do great without him, will all her life to live and all her love to give. The lyrics are great, which is incredibly rare for any dance song. The music is great. And Gaynor is perfect. You can belt it in the car and it drives people to the dance floor. Just an amazing, incredible song.

The Bee Gees -- "Tragedy" -- March 24, 1979

The real tragedy is that The Bee Gees shat up disco. What could it have been if not for their influence? There were disco singers and groups who escaped it, but Barry Gibb and Friends' clogging of the charts kept out so many worthy acts. Lots of synth on this song, and synth can be really cool (I'm a diehard fan of The Alan Parsons Project), but the Bee Gees made it boring and turgid. Then that damned falsetto. I don't care about the lyrics, I just want to not hear the Bee Gees again ever.

The Doobie Brothers -- "What A Fool Believes" -- April 14, 1979

The guy the song is about thinks he's going to get an ex back because she was nice when he met her again. He's a fool, and "no wise man has the power to reason away." The music's good, too, a sort of mild rock. "Yacht rock" I suppose. The sentiment is kinda country music though. Good song, anyway.

Amii Stewart -- "Knock on Wood" -- April 21, 1979

What is that in the background? A synth sound, obviously, but it sounds like -- a washboard? I have no idea, but it's annoying. This is a cover of an older soul song by Eddie Floyd that's pretty good, but they wreck it here. The amount of gunk clogging it up is painful. Also Amii Stewart doesn't modulate at all, her voice is a constant blare. Headache-inducing.

Blondie -- "Heart of Glass" -- April 28, 1979

The 80s are coming. Blondie does interesting things with synth here, the beat's irresistible, Debbie Harry's voice is unique, and the lyrics are about an ended relationship that was "a pain in the ass." Not some huge broken-hearted thing, despite the "heart of glass" lyric. Just... done, that didn't work, moving on. Not that the lyrics particularly matter here. It's all about the interesting, different-sounding music.

Peaches & Herb -- "Reunited" -- May 5, 1979

If synth can sound more synthetic than usual, that's how this song begins. It's about a couple getting back together, but it doesn't sound like they were ever in a lot of pain or that they're really excited now. There's some neat guitar stuff. It could be worse. But mostly it's bland.

Donna Summer -- "Hot Stuff" -- June 2, 1979

It's a disco song, but with a lot more rock in it than disco usually has. Maybe that's why it's survived so much better than most disco. The narrator wants one of her lovers (of whom she obviously has many) to answer the phone so that she can get laid. It's the ballad of Romance Sims. It's fun.

Bee Gees -- "Love You Inside Out" -- June 9, 1979

Well, ew. This guy's whining that the woman he loves has too many lovers but he's the one who will "love you inside out," whatever the hell that means. It sounds like a serial killer. She needs to dump him, and also probably move and change her name. And, of course, there's Barry Gibb's horrible orchestration and falsetto.

Anita Ward -- "Ring My Bell" -- June 30, 1979

Disco, of course. He's been gone for a while and she's singing to him "you can ring my bell." So, they're gonna celebrate his homecoming with lots of sex. The lines "You can ring my bell, ring my bell/ (Ring my bell/ ding-dong-ding)" repeat a couple hundred times. The background synth sounds are painfully repetitive. Like something on The Prisoner used to brainwash people. And Anita Ward sings in a Betty Boop-ish sort of childish voice that I also find annoying. It's not Bee Gees bad, but it's bad.

Donna Summer -- "Bad Girls" -- July 14, 1979

"Bad girls" are not the same as "sad girls." Sorry, this song might be fine or even good, but that one line has always bugged me way too much. So does the police whistle.

Chic -- "Good Times" -- August 18, 1979

Disco about how "happy days are here again" for now. The lyrics are obviously pretty shallow, but at least there is a line about how it won't last forever. That's not my problem anyway. My problem is that the chorus bores me, musically. Like, it hurts. There are two notes I think? And the beat is the same throughout. I always sort of ignored this song before, but on actively trying to listen to it, I have started to hate it. It doesn't interact well with my brain chemistry.

The Knack -- "My Sharona" -- August 25, 1979

This became a hit again when Reality Bites came out. So I danced in a convenience store to it my freshman year of college. We were "of the younger kind" then, considering I was 17. That made me like the song better -- it was about me! Rock isn't supposed to be clean, and you're really not supposed to take it as advice. The riff is amazing, and I love this song.

Robert John -- "Sad Eyes" -- October 6, 1979

I've never heard this song before. The music box sounding intro lasts a while and lulls you into complacency before the horrible falsetto kicks in. Not only extremely 70s white man falsetto, but an entitled brat of a man breaking up with a woman and being put out that she's looking at him with "sad eyes." Incredibly bad in an incredibly 70s way. I can see why I've never heard this song before. It's absolutely terrible.

Michael Jackson -- "Don't Stop 'Til You Get Enough" -- October 13, 1979

Sigh. All right, now that he's an adult, gotta tackle Michael Jackson. He was a rampant and, as far as we know, unrepentant child molester. He destroyed people in the most personal way possible short of actual murder. (Phil Spector is still worse.) He was murdered through at least extreme malpractice by his doctor. He was forced into stardom as a child himself. And he was a huge, massive, incredibly gigantic star, even after he became a punchline. I was never a big fan, but like most children of the 80s, I loved some of his songs and spent a lot of time doing the moonwalk, or as close as I could get. I feel an immense amount of pity for him, along with utterly despising him, along with admiring his talent, along with being sickened by the fact that Hollywood and the music industry knew and no one did anything about what he was doing. All in all, I end up at this place: Child stardom must end.

Okay, now for the music. This song takes forever to actually start. Also I have actually never heard it before today. Probably because it's falsetto. Jackson's falsetto is obviously far superior to Barry Gibb's, but it's still falsetto the whole song. The riff is great once it starts, and everything about the music should be good -- but, falsetto. The whole time, as far as I can tell. I can't listen to all of it. Whose idea was it that falsetto should ever be anything other than an occasional few bars? Was it Frankie Valli? I'm gonna blame Frankie Valli.

Herb Alpert -- "Rise" -- October 20, 1979

It's a jazz-funk instrumental and it's pretty good. Piano, guitar, trumpet, some kind of glittering thing -- xylophone? Bells? The people laughing like it's a laid-back party are annoying, but not enough to wreck the song. If this doesn't play on every cruise ship ever, they're missing a trick.

M -- "Pop Music" -- November 3, 1979

I saw the title, and thought I didn't know the song. Then I heard the first bars of the song and went, "OH this one." It's New Wave. I love a lot of New Wave, but this one's on the purposefully shallow end, rather than the Eurythmics end. The lyrics are nonsense, but the beat is pretty irresistable. Which makes it a dance song, whatever its intent. One of the lines is, "Dance in the supermarket," so it probably was intended to be danced to. In any case, I find it pretty forgettable, but fine.

The Eagles -- "Heartache Tonight" -- November 10, 1979

I've heard this song before, but not often. I'm not sure if it's about sex before a breakup or about cheating. Don Henley does not have Elvis' voice, though he seems to be trying to reach that level. Real power is required for the chorus, and Henley lacks it. If this were sung by Freddie Mercury, we'd have something. Queen also would have brought more musical interest generally. But as-is, it doesn't work for me.

The Commodores' -- "Still" -- November 17, 1979

Lionel Richie was still the frontman/ writer for The Commodores here. Should I explore why I can't stand Lionel Richie's music? I'd have to listen to it more to fully understand. It always sounds totally insincere to me. The songs themselves are too slow. This one doesn't have a bassline. It's so polished and gloopy. And in this song, that pause between "I love you" and "still" is both highly predictable and entirely phony. I managed to listen to the entire song, and I rolled my eyes throughout, but especially at that last whispered "still." Oh he's just so sad puh-leaze. Crying his way to the bank.

Barbra Streisand and Donna Summer -- "No More Tears" -- November 24, 1979

I hate Barbra Streisand's singing and like Donna Summer's. I wish this were just Donna Summer. If it were, I'd probably like the song. It's slow for almost 2 minutes, then becomes disco. Streisand isn't able to do as much self-loving in a fast dance song, but it's still there. I tried to find a version with just Donna Summer and failed. So, I dunno, the fact that I can actually listen to the whole thing makes me think it's the most tolerable song with Barbra Streisand in existence. But it would have been so much better without her.

Styx -- "Babe" -- December 8, 1979

Styx was prog rock, but watered-down, simplified prog-rock. Lite prog rock, as weird as that is. But they still had that massive theatricality of prog rock, which I like, and they were great for places like Pine Knob. Outside of those massive arenas, they don't work for me. Dennis DeYoung, the writer and singer of this song, belts the whole way through. Yeah, he hits the notes, but he doesn't seem to realize you're supposed to sometimes modulate, even on a power ballad. Meh.

Rupert Holmes -- "Escape (The Pina Colada Song)" -- December 22, 1979

If you take this song seriously, you're likely to hate it. It ain't that deep. It's a goofy song about a goofy thing -- both he and his wife are bored and want to cheat, so they write personal ads, and lo, they answer each other's personals! Though how that happens when they're the blandest Reaganite yuppies ever, I'm not sure. Maybe it's because they're both full of themselves ("if you have half a brain.") I enjoy this song because it is catchy, silly, and totally non-serious. I do not like pina coladas, btw.

BEST OF 1979: "I Will Survive" by Gloria Gaynor. WORST OF 1979: "Love You Inside Out" by the Bee Gees

#billboard number ones

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fyexo · 5 years

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191031 SuperM Reveal How They Reacted When They First Found Out About the Supergroup

What does it take for a K-pop group’s first album to debut at No. 1 on the Billboard 200 chart? For SuperM, it takes a lot of hard work and a hefty dose of jumping and popping.

To understand SuperM’s success on the charts is to understand its members, company history and sound. The supergroup is comprised of seven members from three different SM Entertainment groups: SHINee’s Taemin, EXO’s Kai and Baekhyun, and NCT and its Chinese sub-unit WayV’s Ten, Taeyong, Mark and Lucas. In their respective groups and individual solo careers, the members have sold over 14 million records combined, racked up more than 4 billion views on YouTube with their music videos, and have more than 120 million followers online.

While this is not SM Entertainment’s first attempt at the creation of a supergroup (that title belongs to 2012’s Younique), SuperM is unique as a joint venture between Capitol Records and SM Entertainment. The group’s debut single, “Jopping,” is a quintessential “SM Music Performance” track — a term coined by the company to describe their genre-bending style of rock, hip-hop and R&B that, combined with stellar music videos and masterful choreography, creates an experience that leaves a lasting impression long after the first listen.

It’s this self-defined genre of music that has fans around the globe hooked on SM’s artists, and SuperM’s debut single “Jopping” is no exception: with its pulsating garage backbeat, sleek choreography, Baekhyun’s chills-inducing high note, and sampling of the Avengers theme, “Jopping” is truly a high-octane ride from start to finish. However, sections of the song harken back to past hits, like EXO’s “Wolf,” NCT 127’s “Cherry Bomb,” and TVXQ!’s “Catch Me,” rooting the track in the company’s signature style while still exploring a new chapter in SM history.

With a Billboard No. 1 debut album and a knockout showcase in Los Angeles under their belts, SuperM is currently preparing for their first tour, the aptly titled We Are The Future Tour — serving both as a callback to the 1997 song by first generation SM Entertainment K-Pop group H.O.T and setting SuperM’s goal of musical domination all at once. Kicking off in Fort Worth, Texas, the tour will see SuperM performing in ten different cities spaced over three months, and promises to showcase not only dynamic group performances, but their “individual characteristics” too, according to Ten.

PopCrush caught up with SuperM to discuss the group’s first practice session, their upcoming tour and the group’s dream of becoming the first Asian artist ever to perform at the Super Bowl.

You held your first official performance as SuperM on October 4th! What was it like performing in front of fans at the Capitol Records building?

Taeyong: It was awesome!

Mark: It was really, really fun. It was our first time performing as a team live in front of our fans and it was like a new experience — we all felt the same emotions together. I think that’s what really stood out to me; last night we were all getting nervous. We were all warming up together. It’s these kinds of things [that] make it feel like we’re actually a whole team. We feel kind of powerful.

Taeyong: We were all really, really nervous about this whole performance. We wanted to show so much to our fans because it was the first time we were performing in front of our fans as SuperM. Because of that, a part of me feels like I wish I could’ve shown more, so hopefully ... I can show off more next time.

How long did you know about SuperM before it was announced to the world?

Baekhyun: One year ago, but our younger members didn’t know then.

Mark: I learned about SuperM on NCT 127’s tour, so this year. I learned about it a couple months before preparing.

Taeyong: Yeah, me too.

What was your first reaction when you heard about SuperM?

Group: Wow!

Baekhyun: So powerful!

Mark: I actually wanted to say this once. During our early filming all together, I went to Taemin’s room and I asked him, “What did you feel when you first heard about SuperM?” He actually said, “This is actually something that can only happen now.” I actually totally agreed with him once he said it. It’s something that the world never thought that they needed, but now they’ll know that they needed it once we come out. We’ve been preparing a lot and we’re ready to show why we came and why we are SuperM.

Baekhyun: That’s right.

Take us into your first practice session together as SuperM. What was it like?

Lucas: First time, it was a little bit awkward.

Taemin: Awkward!

Ten: Because we’ve never worked with the seniors in our company before, we didn’t know what was going to happen when we started practicing, right? First, the atmosphere was so tense, but then Baekhyun came in and he just kept making jokes about stuff and the fences just like dropped down. From then, we started to get to know each other for the first time.

Baekhyun: I think for us, we felt more comfortable working with them. Also, I was really curious what it would be like to work with the younger, more recently debuted groups. They were more innocent and cuter than I had thought originally! That kinda made me want to take them under my wing and helped us grow closer.

Lucas: And because the seniors kind of looked after us, we felt very comfortable and that was kind of what brought us all together.

How was “Jopping” selected as the lead single?

Mark: We chose “Jopping” because we believed that it had the potential to contain our performance in terms of our dynamics. The way we are as a team, we’re very diverse; we have a lot of talents all rolled in one. We felt that “Jopping” had the capability of holding all of those talents in one piece. We definitely knew that it was going to be the song that we were gonna release as our debut single, and through it we wanted to show our strong side and how strong we are together.

Taeyong: SMP!

Ten: SM Performance — ”Jopping” is in that category.

Taeyong, you helped write and compose “No Manners.” Where did you get the inspiration for that track?

Taeyong: I got the inspiration from it from the movie Sid & Nancy, which I mention in the lyrics. It’s about a couple that have a bad break up even though they’re so in love with each other. Just going off that, I kind of thought, rather than having the relationship end on such bad terms, like you ending up hating that person, maybe it’s actually better to cut it out... [Stops talking and turns to Baekhyun] How do I put it?

Baekhyun: Let me help you out. If the relationship hits rock bottom, you end up hating each other. Rather than letting each other be the worst ex you ever had, it’s sometimes necessary to break up cold turkey before you start hating each other. I think that’s the message of the song.

You’re embarking on a huge tour beginning in November! What are you looking forward to most about performing in the U.S.?

Taeyong, Taemin and Kai, singing: We are the future! [Writer’s note: This is a reference to the H.O.T song of the same name.]

Kai: Oh my God.

Mark: It’s our first tour as SuperM. We are all lovers of performing and so having a tour itself just excites all of us, but to excite as a whole team together is just a total different feeling and so we’re looking forward to it. We’re still rehearsing it; we haven’t fully finished preparing it, but we’re actually thinking about a lot of things that we can show the fans other than just the album. I feel like the fans would love seeing how we all kind of collaboratively work together and I think that’s the best part that we can show the fans from the tour, so I hope a lot of people come.

This tour will see the group performing at prestigious venues like Madison Square Garden, some members for the first time ever in the U.S. How does that feel?

Ten: For me, I’ve always wanted to come to the U.S. and do a tour, and this time I get a chance to work with my SuperM members.... I still can’t believe it that I��m getting to do this! I want to thank all the members for working hard for this opportunity and thank you to Soo-Man Lee [SM Entertainment founder and executive music producer of SuperM] for giving us this opportunity and Capitol for helping us. This show, it’s not just the team, we get to show our individual characteristics too.

What’s your goal for the future of SuperM?

Taeyong: I wish that people all around the world would get to know us, would like our music, and would get inspired by us.

Taemin: I agree and want to add that fans also inspire us. This give and take with the fans as they support SuperM, SuperM also reciprocates that to the fans and I just want it to continue.

With a Billboard No. 1 debut album, what’s the next goal for SuperM?

Taemin and Ten: Super Bowl!

Taeyong: To become the first Asian artist to perform at the Super Bowl Halftime show.

Kai: With Capitol…

Taemin: With Capitol’s support, we can do it!

Lucas: Yeah!

Baekhyun: Let’s go!

source: popcrush

#exo #kai #baekhyun #t: interview #album: superm

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