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sgtpeppers · 4 months ago

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"A dark shadow on an otherwise beautiful record": PR, McCartney and The Beatles' Split.

“No, I wasn’t angry – shit, he’s a good P.R. man, that’s all. He’s about the best in the world, probably. He really does a job. I wasn’t angry. We were all hurt that he didn’t tell us that was what he was going to do.”

(John Lennon in Rolling Stone, 21 Jan 1971)

To cut to the chase, I want to explain why this statement from John, claiming Paul is a good PR man is wrong. Largely thanks to quotes like this from John, Paul gets painted as the Beatle with a good media strategy, the insinuation being of course, that he is disingenuous and inauthentic. I don’t believe this is true in general, but what I really want to focus on, and what John is referencing in that quote, is the publicity around Paul’s 1970 album McCartney, which got all tied up with the news of The Beatles split, and how actually, mistake after mistake was made, rather than it being what John claims - a purposeful move to get more publicity for his album.

This isn’t a moral judgment on either John or Paul, or me saying Paul is stupid for not doing more. In fact, I think it playing out this way is far more interesting and we can gain a lot of insight about his mindset and relationships from his press activities around this time.

I’m going to do this chronologically as much as possible, but before we dive in it will be helpful for us to keep a few basic PR strategies and tools in mind to help us understand what’s (or perhaps more importantly, what’s not) happening. So what are some things that make for good public relations?

A clear, cohesive message. What's the story of the album? There should be key phrases that are repeated throughout press activities, and also allow an easy fall back when faced with questions that haven’t been prepared for. Broadly speaking, you want to highlight the good and ignore the bad, without lying or appearing to hide anything.

A good relationship with the press. Having even a couple of journalists on side can be a huge benefit, it makes for friendlier interviews and more forgiving assessments (which isn’t to say journalists are being fake or can be incentivised, but it’s just human nature that if you make friends, you’re going to have an easier time.) Furthermore, you want a reputation in the industry as someone that’s nice to interview, because journalists can and will talk, and if they’re going to come in with a preconception about you, you want it to be positive.

Reactive messaging. If something comes out that you don’t want to be out, be prepared. Ideally potential problems have already been planned for. Know which journalists to reach out to, know what the story is, then be prepared to go quiet and leave things alone.

Pre-prepared Q&As or FAQs should answer more questions than they generate. They also shouldn’t require in depth answers - save that for conversations where there’s time for explanations.

So, let’s start back in 1969. The Paul is dead rumours are in full force and Paul, Linda, Heather and Mary are living up in Scotland, trying to escape the goings-on back in London.

On 24 October, Paul gives an interview to the BBC dispelling the rumours about his death, which goes out on 26-27 October in two parts. A few days later, Dorothy Bacon and Terrence Spencer from Life Magazine make the trip up to his farm to try and get another interview with him, for a piece they’re also doing about the rumours.

Paul throws a bucket of dirty water at them, they get pictures, and then realising how this will look if published, Paul gives them an interview and promises to have Linda send them some family shots for the articles. In exchange they get rid of the photos they took earlier in the day.

So the first point here, that hopefully I don't need to spell out, is that you don’t wanna go throwing buckets of water at journalists. Thankfully, Paul did realise this and course corrected, but I can only imagine what the fall out would have been had he hadn’t gone after them. But what’s important for this story is that Paul is fed up with journalists and having to share his private life, he's emotional, and his instinct is to lash out.

The other thing that’s interesting here is a line that goes completely unnoticed. At this point, The Beatles split is not public knowledge.

The Beatle thing is over. It has been exploded, partly by what we have done, and partly by other people. We are individuals, all different. John married Yoko, I married Linda. We didn’t marry the same girl.

(Paul McCartney in Life Magazine, November, 1969)

This is huge, and it doesn’t get picked up by anyone else. It’s not made a big deal of in the Life article, it’s perhaps the clearest statement we get about the state of The Beatles, and yet it flies under the radar. I’d love to know exactly what the deal is here, but there’s not much we can do about that, but what we should start keeping in mind in this: there is no plan in place around The Beatles split. There is just an agreement to not make it public yet.

The McCartneys go back to London and Paul starts recording music with his new equipment at home. Later he books studio time when he decides he can make an album out of the songs he’s been working on.

Some key dates:

Paul finishes the album on 25 February.

The album is set to release on 17 April.

Ringo’s album get rushed to release two weeks early on 27 March and Let It Be is also supposed to be released in April.

On 31 March John and George send a letter, delivered by Ringo, asking Paul to delay the release of McCartney. Paul refuses and Let It Be gets moved instead.

Which brings us to April. Prior this, Paul realised that if he’s going to be putting an album out he’s going to have to do some publicity, but the problem is… well, there’s a few; he’s never had to do publicity for a solo album and simply doesn’t have the knowledge, his relationship with Apple has completely deteriorated which includes the people who have been handling this stuff for him in the past, and lastly, he doesn’t want to be dealing with press. Refer back to him and the bucket.

Thankfully, Peter Brown and Derek Taylor from Apple’s press office, tell him he does need to do something and to an extent, he listens. They select a handful of papers he’ll do interviews with, and Peter Brown puts together a Q&A for Paul to answer, which will go out to journalists in the press kit with their early copy of the album (x).

What I would love to do here is a question by question breakdown of that press kit Q&A but I’m conscious of how long this is already so I won’t… but before we get into that, here are a few more key events:

7 April: The Eastmans issue a press release with news about Paul’s solo album and his acquisition of the film rights for Rupert The Bear. This is covered mostly by American press on 8 April who speculate that this could mean the end of The Beatles. (An important note here is the lack of communication between the Eastmans and Apple, not knowing what materials each other are providing is not helpful).

9 April: McCartney press kits are sent to journalists.

9 April: Before Don Short at the Daily Mirror clocks off for the night, he is called by an Apple employee who tells him Paul has definitely quit.

10 April: The Daily Mirror breaks the news with the headline ‘Paul Is Quitting The Beatles’.

10 April: After doing interviews all day, Derek Taylor issues a statement regarding The Beatles. It doesn’t say much, which he acknowledges, because there’s not much he can say at this point. Another important note here, is that not even the head of publicity of Apple knew what was going on with The Beatles. There is no communication, and with no communication there can be no plan.

(Paul McCartney Project page that covers all this)

So what happened that made The Beatles split go from speculation to a certainty? It’s all to do with that Q&A. Of course, with the Eastman’s press release people were going to start connecting the dots, but that call Short got from his source isn’t presented as a rumour.

Now, there’s a lot to say about this Q&A because Paul's answer are so unhelpful and you can feel his attitude. I think the fact this was allowed to go out is a fundamental piece of evidence of Paul’s relationship with Apple at the time. No one wanted to tell him no, and he certainly wasn’t going to give them more than the bare minimum.

And lets be really clear here. This is a Q&A for his new album. Obviously the state of the Beatles was going to be brought up which is why Peter Brown included the questions, but the number of the questions on that topic and then Paul’s answers, make it really confusing and it’s no wonder this is what press picked up on, rather than just talking about Paul’s album. There are 41 questions in total, and 13 of them are asking him about his relationship to the other Beatles, Apple and Klein. That’s just over a third of the Q&A talking about things that he doesn’t want to be talking about. The fact he didn’t just tell Apple that he wasn’t going to answer some of the questions shows how little forethought went into this on his part. There was a much more concise way to do this, and I do not believe for a second Paul wanted further questions about the state of the Beatles when he’s trying to promote his first solo album.

And remember what I said at the top, about how if you’re gonna be promoting something in the press you want clear messaging around it? That’s already going be difficult now this Q&A has tied so much of the Beatles split into their messaging, despite Paul actually having a pretty clear idea of what the album’s story is aside from that, but the answers Paul gives to those questions just add further confusion.

Link to full Q&A.

Q: Were you influenced by John’s adventures with the Plastic Ono Band, and Ringo’s solo LP? A: Sort of, but not really. Q: Will they be so credited: McCartney? A: It’s a bit daft for them to be Lennon-McCartney-credited, so ‘McCartney’ it is. Q: Will the other Beatles receive the first copies? A: Wait and see. Q: Is it true that neither Allen Klein nor ABKCO have been nor will be in any way involved with the production, manufacturing, distribution or promotion of this new album? A: Not if I can help it. Q: Did you miss the other Beatles and George Martin? Was there a moment eg, when you thought ‘wish Ringo was here for this break?” A: No. Q: Are you planning a new album or single with the Beatles? A: No. Q: Is this album a rest away from the Beatles or the start of a solo career? A: Time will tell. Being a solo album means it’s the start of a solo career… and not being done with the Beatles means it’s a rest. So it’s both. Q: Is your break from the Beatles temporary or permanent, due to personal difference or musical ones? A: Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don’t know. Q: Do you see a time when Lennon-McCartney becomes an active songwriting partnership again? A: No. Q: What is your relationship with Klein: A: It isn’t – I am not in contact with him, and he does not represent me in any way. Q: What is your relationship with apple? A: It is the office of a company which I part-own with the other three Beatles. I don’t go there because I don’t like the offices or business, especially when I’m on holiday.

So what can we get from this? It’s the start of a solo career for Paul, he doesn’t know if The Beatles break is permanent or temporary, he’s not in contact with Klein and Klein doesn’t represent him, he owns part of Apple but he doesn’t like going there, and he seems very certain that the Lennon-McCartney partnership is over, despite not being sure if The Beatles will play together again or not.

It’s a mess. It raises further questions. The only reason I can think of for it being so long is Peter Brown trying to cover absolutely everything he could think a journalist would ask, but it’s given Paul far too much scope for muddled answers, and in some cases, factually incorrect ones. He is tied up with Klein whether he likes it or not, because Klein’s tied up with Apple and Paul still has a contract with them.

It’s no wonder that this becomes the focus of the media narrative, and it makes Paul panic.

So on 16 April, the day before McCartney was released, Paul sits down with journalist Ray Connolly. And we move from story making, into reactive messaging. There is some thought behind this - Connolly is friendly with The Beatles and had actually already been aware of the split thanks to an off the record chat with John, so he was a good choice. The interview was published in the Evening Standard, a few days after the album had come out.

And here’s why you want a friendly journalist to talk to, because as the world rushed to say that Paul had broken up the band, Connolly led his article with this:

Paul McCartney didn’t kill the Beatles. If the group is dead, McCartney might be seen as the last survivor. If he has quit, and he still hasn’t confirmed it, he was the last to go.

(Paul McCartney in the Evening Standard, 21-22 April 1970)

However, the interview is also extremely telling about where Paul’s at emotionally in this moment.

A few days ago Paul McCartney decided to break his year-long silence and be interviewed. He wanted to clear up the confusion about his relations with the other Beatles and Allen Klein, and to kill the rumours that he was now ‘a hermit living in a cave somewhere with a ten-foot beard’. He wanted to show that he really was a happily married man with ‘a nice family and a good life’. But most of all he wanted to talk, to work things out in conversation, as much, I suspect, for his own benefit as anything.

This is not what you want to be doing with a journalist, you want to have this worked out before the conversation.

We met for lunch in a Soho businessman’s restaurant. With hardly moments for the hellos, he’d launched into his theme, talking rapidly and intently, and only occasionally allowing Linda to come in as support and verification. He wanted to put it all straight, to show that no one was to blame for what had happened, and when after two and a half hours’ non-stop talking he had cleared up his mind and mine too, he laughed, said he felt better now, got into his car and went home.

This demonstrates the lack of media training he had. It’s a stark difference to the confidence he had doing press with the other Beatles, on his own and with a particular idea to get across he appears nervous and controlling. Long form interviews like this are a marathon, not a sprint, and had he had an advisor or representative that was willing to push back against him, he would have known how to handle this better.

Moreover, an interview of this sort should have been done and published prior to the album coming out, or at least on the day of. Yes, there were always going to be questions about The Beatles tied up with this release, but one long interview like this, that had been properly prepared for, could have gone a long way to keeping the story straight. He also, despite his steamroller-ing of the conversation to begin with, comes across much more balanced about the situation than he does in those Q&A answers, so leading with something like this would have put him on much better footing.

So let's just pause here. What have we got so far? We've got Paul wanting to do as little press as possible, and with a breakdown of communication with his press team resulting in minimal planning and advice. This goes completely against the picture John is trying to paint.

And I’m not done yet. Because now we need to talk about the response to the album which wasn’t what I imagine Paul had wanted. There are two reviews I’m going to focus on here, firstly from Disc & Music Echo, written by Penny Valentine.

I don’t know what he was thinking when he planned this album. Perhaps he is laughing at us all. That’s fine, but it’s a pretty cruel way of doing it… almost a betrayal of all the things we’ve come to expect.

(Disc & Music Echo review, 18 April 1970)

It’s really harsh, but also this is within her right as a journalist. And what should someone do if they’re getting bad reviews? Ignore them. Thank the fans. Thank the people who say nice things. Don’t highlight negative attention, and certainly don’t lash out.

And look, there’s a lot to be said about Paul, Linda, John and Yoko’s press communications over the 70s, the Melody Maker letters spring to mind, and I’m very aware that I’m looking at this from 2025 when PR is much bigger and better oiled machine, almost to the point of it being quite boring and predictable. I do, however, also think that ‘don’t lash out at journalists who don’t like your work’ is common sense.

So Paul and Linda writing to Disc & Music Echo is a bit much to my eyes:

Dear Penny hold your hand out you silly girl I am not being cruel or laughing at you. I am merely enjoying myself. You are wrong about the McCartney album. It is an attempt at something slightly different, it is simple, it is good and even at this moment it is growing on you, love. – Paul and Linda McCartney.

(Paul and Linda's telegram to Disc & Music Echo, 25 April 1970)

It’s condescending, and if you want to plant the seeds of what your album is meant to be, there are much better places and ways to do it. Again this is reactive, showing little to no planning earlier in the year.

But here’s the thing that actually, completely baffles me. On the same day, in the same paper, another article gets published, this time by Derek Taylor, with the by line reading ‘Derek Taylor, Beatles Press Officer’. This just shouldn't happen. I can’t think of another case where someone’s PR is coming to their rescue in print. That’s not their job, and yes, Taylor used to be a journalist but he’s not anymore. I think this is way more to do with the way the people that have been with the Beatles since the early days are so emotionally wrapped up in this, they weren’t the people that should have been handling this.

(x)

It also shows though, that however much Paul was distancing himself from Apple, there were people still there who loved him. It’s an emotional, beautifully written piece calling for people to leave Paul alone, but also not a good PR move, especially when he’s highlighting a specific journalist. Whether Paul asked Derek to do this, or Derek did it of his own accord, I don’t know, but it looks defensive and if I was a journalist, I’d be rolling my eyes.

Which brings us to the final part of this, the Rolling Stone review, published on 14 May 1970, nearly a month after the album came out, and largely not about the album at all, but a lot of focus on Paul’s handling of the situation.

The review of the actual songs is pretty complimentary, but this is also a personal attack on Paul.

(Full review)

Unfortunately, there is more to this album than just music. Accompanying the release of McCartney was a mass of external information — all of it coming directly from Paul himself — which casts real doubt on the beautiful picture which the songs create.

The sheets contain even more assertions about how happy and peaceful Paul and Linda are these days, and some interview statement from Paul concerning his relationship to the Beatles — statements which drip a kind of unsavory vindictiveness.

My problem is that all of the publicity surrounding the record makes it difficult for me to believe that McCartney is what it appears to be. In the special package of information which Paul wanted to include with the album we find startlingly harsh statements.

The lasting effect of this publicity campaign is to cast a dark shadow on an otherwise beautiful record. Listening to it now I cannot help but ask if Paul is really as together as the music indicates, how could he have sunk to such bizarre tactics?

I don't think this needs much commentary. You know something’s gone wrong with your PR when that becomes the focus, rather than the thing you’re actually trying to promote.

If we return to the four things I listed above, I think we can pretty resolutely lay out what I wanted to do.

Was there a clear, cohesive message? Around the album itself, sort of, Paul knew what it was. But it got tied up with the news of The Beatles split, the messaging around which was confusing with no one sticking to the same story. He also didn't do enough before the album came out, to get that messaging about his album stuck in people's heads. So overall, no.

Did he build good relationships with press? No. He threw a bucket at one. He provided confusing press kit material, even to journalists he was friendly with he came across in a manner that was worth noting in an article, he sent a bitchy telegram to a journalist who wrote a bad review, and this all culminated in Rolling Stone spending more time talking about his publicity than his album.

Did Paul have reactive messaging prepared? Evidently not, and then given the chance to provide some, he came across as panicked to the journalist he was speaking to.

Did his Q&A provide clear, simple answers to common questions he was likely to get asked? No, it was overly long, asking the same questions in multiple ways and no editing was done to his short, snappy, confusing, and incorrect answers.

I don’t want to give the idea that Paul, overall, is just shit at PR. (I mean, there's a difference between being a good spokesperson and good at PR but I won't get into that). He’s a highly successful musician who by all accounts, is now extremely good at interviews and making journalists feel at ease. He’s Paul fucking McCartney. But John saying this, in direct reference to this period of press activities is just not true. The album did well for Paul in the charts and sales, yes, but I’d argue that’s despite all this, rather than because of it.

And it’s also important to reiterate, that Paul simply wasn’t interested in doing a lot of publicity. He wasn’t even sure this was going to be an album when he started writing the songs. He didn’t want people coming to his farm, invading his new family life (and rightly so), he didn’t want to be on TV or the radio every day. That’s why his Q&A is so terse and why he hadn’t put any thought in how he was going to talk about The Beatles. And whilst how he felt is understandable, what he needed were a team around him willing to push back, steer him, and were separate from Apple. That’s the only way, I think, this could have gone differently.

Even then, he probably wouldn’t have listened to them anyway:

I don’t think I need a manager in the old sense that Brian Epstein was our manager. All I want are paid advisers, who will do what I want them to do. And that’s what I’ve got.

(Paul McCartney in the Evening Standard, 21-22 April 1970)

And that’s really the crux of it all, because you can’t do good with PR with someone who doesn’t want to take advice and thinks they know best. And I love him for it.

#paul mccartney #the beatles #john lennon #linda mccartney #ref:mccartney #ref:paul #ref:breakup #ref:press #please feel free to let me know if i've missed anything or made a mistake #this is really just my musing on a weird af pr campaign and so i've probably missed things #but hopefully it makes sense!#there's also A LOT i could have said about why i think john even says this #but that's gonna have to be another post for another day

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thats-the-teen-spirit · 13 days ago

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Ghost - Skeletá album review

I've been a Ghost fan since 2019 when I discovered Cirice so this is my second album release I spend as a fan. Since I'm still fairly new to the full album releases of Papa and the Ghouls, please take my opinions with a grain of salt.

The album opens up with children choir as the first notes of Peacefield start, which turn into a very Journey- like piece, so much so that I often catch myself singing Separate Ways instead of the chorus of Peacefield. The typical 80's nostalgia quality is absolutely there, though nothing special as an opener, I would compare it to Kaisarion rather than Spirit or Rats. From the first notes of the guitars it sounds like the explicitly Satan-loving lyrics and overly edgy tone belong in the past.

Then we enter the second single, Lachryma (latin for tears) which I love much more than Peacefield. Starting with a synthwave-y intro into a banging heavy dark riff is what I expected for this album honestly. The chorus is very melodic, almost too melodic even as the word "crying" what feels like is repeated for forever. TF said this song is about self-deceit, and honestly I feel that too with the lyrics. Oh and I adore the key change and the guitar solo at the end. And the video for it is amazing as well.

Satanized was the first single we got from Papa V Perpetua and honestly it is to this day my favorite one. The time signature is very Infestissumam, the lyrics are finally (only literally) about Satan, there's a latin spoken word part, I still catch myself humming 'Blasphemy, Heresy' since it got released. The actual figurative meaning behind is obsession and feeling guit over it, I would compare it to the story of Frollo from The Hunchback of Notre Dame.

Guiding Lights is a ballad. Very reminiscent to late 80's power ballads, probably the most sentimental of all of Ghost's songs, not even Impera had such an 80's feeling ballad on it. And yes I am aware DATHOML and ROTSF exist. Probably the weakest song on the whole album but I must admit after 3 listens, it is growing on me. The message is devastating though, as TF is trying to save a friend from going down the wrong path.

De Profundis Borealis starts with a gentle piano intro which leads to a guitar riff that sounds like it's from the previous album. The arena rock feeling is very strong with this one and the hooky prechorus and chorus gets you into the nostalgic mood it's supposed to make you feel. The song closes out with ominous male choir which (sorry to disappoint) never delivers the old school Ghost feel in the following song.

Cenotaph (meaning fake grave) starts full of gallops, almost Iron Maiden-like (continuing from the previous song which is also very maiden-y). Which to a lot of people could seem like a filler heavy metal song, I think could potentially be one of the better concert songs, especially if the ghouls pull the guitar solo off well. Not bad, but still a 'mid' song to me at best.

Missilia Amori (or Love Rockets as said multiple times in the chorus). Lyrically I don't consider this song among the better ones on the record but musically I think it's one of the most impressive ones for sure. The key change in the bridge is very hype with the synths in the background, I'm glad Ghost is bringing back synths for this record.

Marks of the Evil One is the greatest song on the record. Period. No other contender. Not only the theme is explicitly satanic and quotes and twists the Bible, but the chorus is the single most catchy one on the entire album. The main melody reeks old Ghost and I write this verb with the best of my intentions, as this song is actually the first evil sounding one since Meliora in my opinion.

Okay I lied, Umbra might also be a contender for the best song on Skeleta. The intro synths pump up the mood as the guitars come in to a heavy metal intro with cowbells. The song structure is: synth intro to verse+pre-chorus, chorus and in the place of the bridge, there is a battle between guitars and synth, a solo which builds up into a cataclysmic duel between the instruments in a very extended fashion, compensating for the fact that there is no instrumental track on the album. Absolute, fucking, cinema. I see this song as the most hyped concert song of the whole Ghost catalogue to be fair. Papa V brings out his best Papa I impression in the verses and the prechorus as well. The chorus again is very happy sounding which contrasts the verses and pre-choruses very well. Great track, honestly I will spin this one a lot.

Excelsis (meaning 'in the highest') could actually pass as the most christian sounding Ghost song after He Is. I consider this song as the positive counterpart of Pro Memoria, as the majority of the song is about going to heaven and how everyone will die one day. Papa V functions as Death himself guiding the listener to the afterlife but instead of the cold hard truth of Pro Memoria, we get the promise of excelsis. If I have to choose a ballad on this album, this is the better one, no doubt. The guitar solo is very satisfying, especially if you like the works of legends such as Gary Moore or David Gilmour. Though Excelsis is much more positive then the aforementioned counterpart, the ending again is very ominous, making it feel like it's very personal to Papa/TF. You have to be in the right mindset to appreciate it.

Overall Skeletá is very top and bottom heavy (the first 3 and the 2 penulitimate ones being the best) with a few fillers here and there, but it's still a great hard rock record to fans of 80's rock and metal. Not as evil sounding as pre-Prequelle albums, but definitely up there with the highlights being Satanized, Lachryma, Marks of the Evil One and Umbra. Cohesively, it feels a bit uninspired to me, but that might only be because I binged every interview promoting the album and TF sounds very burnt out, someone who only recorded this album because he was contractually obligated.

3.5/5

#ghost #ghost bc #ghoulposting #ghost band #tobias forge #skeleta #papa perpetua

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dailyniallnews · 2 years ago

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niallhoran: Hello Lovers ! I’m excited to announce that ‘The Show: The Encore’ will be out digitally on November 3rd with vinyl and CD editions to follow on April 5th.

This new version of the album features 9 additional tracks including a version of “You Could Start A Cult” with @lizzymcalpine which is out everywhere this Friday. I’ve been a huge fan of hers for a while now and am so grateful she was able to hop on the song and write a special new verse. I’m also thrilled that the incredible @johnlegend came on for a new version of “The Show” and can’t wait for you all to hear the cover of tearsforfears’ “Everybody Wants To Rule The World” that I’ve been performing at all the festivals this past summer. There’s also some versions of the songs I did with @vevo and a preview of some live performances I did at a @spotify event right before the album came out (much more to come from that night to come soon).

Pre-order and pre-save from the link in my bio xx

#niall horan #instagram #the show #24oct23

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bbrissonn · 2 years ago

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𝐭𝐢𝐫𝐞𝐝 𝐨𝐟 𝐮 - 𝐭𝐫𝐞𝐯𝐨𝐫 𝐳𝐞𝐠𝐫𝐚𝐬 (𝟏)

╰┈➤kinda nervous lol, making this on sept 22 at 11:51 pm. i came up with this idea for an au after seeing this post from @edwardslvrr like 2 hours ago

╰┈➤ october 8th bri bri here, decided to post this cause why not, it's all i've been thinking about since i started this au in my draft and i really want to make it public so yeah :))) hope you enjoy !!

╰┈➤ pairing: trevor zegras x ex!singer!reader

╰┈➤ masterlist

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-SEPTEMBER 1ST, 2023-

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: ̗̀➛ alannaoregon has posted on instagram for the first time in a while

alannaoregon

liked by jamie.drysdale and 1.8M others

alannaoregon so excited to announce that my sophomore album Tired of U comes out on October 13th !! this has been a work for almost 6 months and i cant wait for all of you to hear it. starting off with “i regret you everyday” coming out September 22th

much love, lana 🩵

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becky.rivera GO BEST FRIEND

alannaoregon @/becky.rivera I LOVE YOU BEST FRIEND

user83 NEW MUSIC NEW MUSIC

jamie.drysdale so proud

alannaoregon @/jamie.drysdale love you little one

user920 soooo we all agree on who all of these are gonna be about right…?

user726 trevor went from having 12 love songs written about him, to 14 breakup song 🫢

user02 @/user726 from obsessed with you to tired of u..

sabrinacarpenter so happy to be by ur side and see u grow, cant wait for everyone these masterpieces 🩷

alannaoregon @/sabrinacarpenter love you so much 🩷

user53 the way lana always uses a blue or white heart, but always a pink one for sabrina 🥹

user836 @/user53 glad im not the only one who noticed

user637 BAHAHAHA LIKE 10 OF TREVORS FRIEND LIKED THIS

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: ̗̀➛ alanna oregon posted a new youtube video

“Becky bring your butt over here.” Alanna called out, placing her camera on the counter of her bathroom. Her skincare products in front of her as Becca made her way into the room, waving at the camera once she was in frame.

"I'm here, I'm here." The Rivera girl said as Alanna grabbed her first product and started applying it to her face.

"Hi cuties, it's me, Lana." The singer said in a weird voice, one she used in every intro. Becca snorted a bit, making her best friend giggle a bit. "I am back with my girl Becky."

"That's me."

"And today, we're gonna take for a lake day with us. And through out the day, I am gonna explaining every single song from my next album, Tired of u, that comes out on October 14th." Alanna explained as she moved onto her second product. Next to her, Becca was nodding along to what she way saying, a proud smile on her face.

"Go pre-save it, guys!"

"And we're gonna be starting with a single, I regret you everyday, coming out on September 20th."

"Not gonna lie, I think that's one of my fav." Becky said as Alanna moved onto her third product. The singer had already made her best friend listen to the whole album, but the girl was there for the writing and producing process so she already had a good idea of what the song were like.

"So, I regret you everyday is a pretty self explanatory title for the song. It's pretty much about regretting ever getting into a relationship with someone, let alone even meeting them even if it's something you can't control." The girl started as she applied her sunscreen gently to her skin. "I think it was the second song I finished writing, maybe like a week after my break-up."

"Wasn't it two weeks?"

"I dunno know, doesn't matter. I was just crying on Becky's couch one day and just came up with it, she helped me write some of the lines."

"You can call me Shakespeare now." The Rivera girl joked, causing her best friend to giggle once again.

"Any who, I picked that song to be a single because I think it really gives off the vibe of what the album is gonna be. Also, because Becky said she'd hit me if I didn't put-"

"Lies!"

"If I didn't put out as a single. So, yeah, now you know!" Alanna continued, ignoring the look her best friend was giving her. She quickly cut the camera after that, laughing at Becca's expression that still hadn't changed.

༊*·˚

The next clip was of the two girls in the kitchen, preparing their breakfast for the day.

"I don't know if we said it before, but we're at Becky's family cottage for the weekend, so we're gonna go swimming this afternoon." Was the first thing said in the clip, Becky in the frame as she broke the eggs. Alanna was in the back, doors of the fridge opened as the looked for the milk.

"Then I am taking her out a date to the porch for dinner with the sunset."

"Fun fact for y'all, the photo on the back of the album was taken by the neighbors of me and Becky. So, thanks to them for their contribution to the album."

"And to my dock for being the front of it." Becca added as she now left the frame and Alanna was now the main focus.

"The next song we're gonna talk about is sunset chasing. Now that song was... very emotional to make, because as some of you might know, I am a whore for sunsets, and sunset chasing was something I did a lot with my ex." The girl started explaining.

"Big big whore for them!"

"In the song, the sunset represents like my relationship with said ex, and how I was like chasing after him and his attention even though we were together for years already. And I guess you could say there's like a double meaning I think, like how sunset chasing turned into me chasing him." She added, smiling slightly had Becca's words.

"I was once again present for the writing of this song and contributed." Becca said, walking back into the frame for a slight second, a proud smile on her face.

༊*·˚

"The birds are trying to eat my food!" Becca yelled out, a loud laughing coming from Alanna as she filmed her best friend shoo away the birds. The two girls were now outside, their breakfast in front of them as they sat on the porch, from which they had a nice view of the lake.

"Becca, don't hurt them!" Alanna said from being the camera, making the girl in question look at her like she was crazy.

"They're going for my food, Lana." There was a cut after that, and then the two girls were sitting around a round table as they slowly ate their food.

"Can I introduce this song?"

"Even if I say no, you'll do it anyways, Becky."

"Damn right I will. Anyways, guys, the next song is called 11 feet behind!" Becca announced to the camera giggling a bit after saying the title of the song. "What's that song about, Lana?" She asked with wiggling eyebrows.

"That song is about always feeling like you're always behind in your relationship. Like people know more what's going on in your relationship than you do, which, fucked up for one, and two really sucks, because it makes you feel like you mean nothing to your partner."

"Guys, let me tell, my girl did not hold back with this one." Becca giggled while talking to the camera. When Alanna had told her best friend she'd be using Trevor's number in one of her song titles, the girl gasped, calling her crazy because of it.

"I am speaking the truth."

"I'm so proud of you, lanny." Becca said randomly, looking over at her best friend. Alanna laughed a bit before giving the girl a big hug, laughing a little.

༊*·˚

"We're getting Starbucks!" Becca yelled out as the next clip started, Alanna's laugh being heard once again. The two of them were now in the car, Becca driving as the other girl sat in the passenger seat, holding the camera so they were both in frame.

"Which is like totally crazy 'cause the next song was written in a Starbucks."

"What a coincidence."

"Right!" The two girl joked, their chuckles echoing in the car before Alanna focused back on the task at hand. "Anyways, it's called Friend Stealer. Long story short, it's about getting dumped by a guy so he can go date one of your friend, that he met through you."

"Snakes." Becky could be heard whispering in the back.

"And the reason why it was written in a Starbucks is because I just wanted to leave my house, get some caffein, and as I was just sitting there thinking about the whole thing, the lyrics just came to me. So, I wrote them down in my notes, typing like a crazy lady on my phone."

"She was gone for like three hours, I was so worried!" Becca said, making Alanna roll her eyes slightly.

"Okay, that's a bit dramatic, I was gone for like, forty-five minutes maybe."

"Still scared me."

"Moving on, that song was probably what helped me really get over my break-up, well more like started the whole moving on process. I was really just writing what I was feeling and yeah, that song was born. It was the first one that I found the melody for, but I think it was like, the forth I wrote, and that's when I decided I was making an album." The singer explained with a shy smile, recalling the happiness she had felt after finally writing out all her anger.

༊*·˚

"We're back in the car! Becky, what'd you get, girl?"

"I got a grande iced coffee with a splash of cream, two pumps of vanilla and two pumps of hazelnut." The girl explained her order, shaking her drinks around. "How about you, m'lady?"

"I got the same as always, my sir. A venti brown sugar oatmilk shaken expresso, only three pumps of brown sugar, three pumps of white mocha and no cinnamon."

"For all of you who didn't know, Lana's my sugar mommy, and she paid for my drink." Becca spoke, grabbing the camera for it was focusing on her. Her best friend scoffed a bit before bringing back to camera on her as Becky started to drive.

"Killing us softly is the name of the next song we're gonna be talking about. The title pretty much says it all, it just talks about how someone in a relationship just doesn't care enough and it's slowly killing their relationship." The clip cut right after the girl was done talking, and the next clip was of her sitting in her bed, filming on her phone with her headphones on.

"Guys, my camera died, oops. And at first Becky and I were gonna go to Target, well we still did, and film the next song in the car. Obviously, we couldn't do that, and my dumb ass forgot to like, go to the song we were gonna do in the car. So, here it is!

It's called mascara stained cheeks, once again, title says it all. But, it goes more into details about how toxic my relationship with my ex got, and how much he made me cry. Small reminder, that crying often in a relationship because of your partner, is not a healthy relationship, never has been and never will be. With that being said, next clip! Wait no, disclaimer, I got a little lazy with these, oops again, so the clips are pretty short. Okay, now, next clip!"

༊*·˚

The two girls were now laying on their chests on sun bathing chairs. The camera was set up on a small table in front of them as they both pushed themselves up on their chairs.

"30 seconds. Wanna do the honor's of explaining this one, Becky?"

"Yes please. This song is about how much of an asshole mister tiny dick was."

"Becca!"

"What? He was. Mister tiny dick broke up with my goddess of a best friend over a phone call, that lasted a solid 30 seconds." The Rivera girl explained, as Alanna gave her stern look.

"Becky, I'm gonna get demonetized because of you."

"Not my fault he had a tiny dick."

"Becca!"

༊*·˚

"Guys, it's editing Lana here again." The girl said, once again sitting in her bed. " So, apparently, none of my footage for the next three songs saved, yay. So, I am gonna have to do this little explanation segment again.

Okay, crushed mind. My baby, the second song I wrote, uhm, I pretty much got emotionally cheated on, so, my mind crushed. Oh my, God, I suck at explaining when I am alone. I feel so awkward just talking to my phone. Ugh, anyways, yeah, I don't know what else to say for that one.

Moving on, i miss u, this one I'm gonna explain so good, just watch, well listen... and watch. It's about missing the person your partner used to be, feeling like they've just become this whole new different person than the one you feel in love with. Which hurts, a lot. But, you know, people change, you can't get mad at people because of that... but you can write songs about it." The girl said, giggling slightly at the end.

"Last song that vanished, spinning circle, talks about conversations with my ex, would just be a spinning circle, I know the saying is like cycle or whatever, but the circle part is explained in the song. I can't tell you right now though, 'cause then I'm... I'm spoiling the like plot twist in the lyrics. Anyways, my camera figured itself out after that clip, so yeah. Back to Lanny and Becky from a week ago."

༊*·˚

The two young adults were sitting on the paddle board, which was tied to the dock so they didn't float away. The sun was beaming on them as their wet skin reflected the light slightly.

"I felt a fish touch me!" Becca gasped just as Alanna was about to speak.

"It's a fish, it's not gonna kill you."

"No, but you know what will, forgiving." Becca said, winking at the girl, clearly proud of herself for the word play. "Get it? 'Cause the next song is... forgive."

"Go you, girly. Forgive, is about forgiving myself for the pain I caused myself during the end of my relationship. Like, I knew it wasn't healthy and all, I knew I should've broken up with him, but I didn't. And it ended up hurting me a lot, and I wrote that song last, kinda like a letter to my past self, forgiving her for making me hurt."

"If any of you though it was about her forgiving mister tiny dick, you weren't alone. I though so too, and I almost wacked her when she told me." Becca said, using the nickname she had for Trevor once again. "Don't look at me like that, you're not gonna get demonetized!"

༊*·˚

"Okay, friends, it's now bedtime for us. We decided not to film after dinner, because we ended having a little heart to heart in the car after, and we just didn't really feel like it. So, we're gonna speed run the last three."

"Heist!" Becca called out. The two best friends were once again in the bathroom, now doing their nightly skincare.

"Going on a heist to get the smallest bit of attention from your partner." Alanna answered.

"heart n soul."

"How hurt my heart and soul were after my break up."

"Last one, tired of u!"

"Tired of... them. Yeah! No, uhm, I am gonna take a little more time on this one since it's also the name of the album. Tired of u, is just about how tired I was of how my old boyfriend was treating me and acting around me. And the reason I picked that name for the album, is because it really describes how I feel towards him still, and our relationship, even now. Overall, just tired of everything related to my old relationship, the media, the comments, just all of it."

"I got tired of him, too, Lanny." Becky said right before the clip cut, making the singer chuckle slightly.

༊*·˚

"Okay friends, we're now in our matching pjs, and we're gonna go to sleep now. So, thanks for hanging with us today."

"Don't forget to go pre-save the album!"

"And yeah, I'll see you guys soon. Bye bye!" Alanna said before leaning in and pressing a kiss to the lens, which Becca than repeated.

: ̗̀➛ comments

user80 the way every time she vlogs she always struggles with the camera- she's so me

user001 so excited to hear these songs, all of them sound so interesting !!!

user719 guys i think she's gonna release sunset chasing as a single before the album drops cause she did the whole album in order, expect for i regret you everyday and sunset chasing

user412 @/user719 OMG YOU'RE SO SMART alannaoregon @/user719 shhh bestie you're gonna ruin the surprise user719 @/alannaoregon OH MY GOD OH MY GOD HIIIII

#bri writes #trevor zegras #trevor zegras imagine #trevor zegras x reader #tired of u au

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thebestdamnthing · 2 days ago

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avrillavigne: LET’S RELEASE A NEW SONG FOR THE TOUR!!! Last year’s Greatest Hits Tour was so fuckin’ incredible that we extended it into this year for another round this summer. So…. I really wanted to drop a new song in time for the tour for you all.

What makes it even more meaningful is getting to share this experience with my friends, Simple Plan. Its really a full circle moment because not only did they tour with me last year on the Greatest Hits tour but we also toured together in 2003 on my first arena tour, when I was 18 and touring my first album ‘Let Go’. We were so young, all from small towns in Canada and put our first albums out at the same time. We became friends right away.

A few months ago, I called them up and they joined me in the studio to write ‘Young & Dumb’. We wanted the song to capture the nostalgic feelings of this unique moment in our lives when we were both just starting out and chasing our dreams. We wanted our fans to know that in our hearts, we’re still the same kids we were back then and that our love for music has never changed.

This song is about our friendship and how music has kept us connected all these years. The song is about feeling nostalgic, while loving where you are right now.

Thank you to everyone who came out to the shows last summer. This song is dedicated to you guys. Our fans who’ve been with us for 20+ years. To everyone who keeps coming to shows. To everyone who’s ready to wake up the punk rock kid thats still inside you, ready to live your best life and sing your heart out.

We dedicate this song to you guys. ‘Young and Dumb’, made with my friends @ simpleplan and my incredible producer @ johnfeldy ! Song is out May 9th and you can pre-save at the link in my bio!

I can’t wait to play it for you every night this summer.

#avril lavigne #simple plan #social media #2025 #may 5

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myobsessionsspace · 2 years ago

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Jungkook’s BE-hind Story

Though filmed in 2021, I find it still relevant.

It’s a really good watch for those that may not have seen this, or may have but have forgotten about it.

His thoughts on songs with no relation to him personally.

His music process, how he can do songs within a day or work on a song over and over, delete and never release.

Watch full video here

🐰“From now on, although songs with sincerity is also important, but…there are so many different types of people, who think differently and come from different backgrounds.

I want to become an artist who can create various different stories by creating imaginary scenarios and situations and coming up with imaginary characters.

That’s my ultimate motive.”

🐿️ “It’s very unique. I usually find it much easier to write about my own experiences, but what you’re trying to do is putting yourself in an imaginary scenario, which is actually very difficult.”

🐰 “Right, it’s difficult. So, although it’s very difficult, like how I want to try new things but unable to express it right now. If I keep doing it I’ll get accustomed to it, so I should keep challenging myself.”

🐿️ “I think it’s wonderful and I believe all challenges are good. I hope you could try out as much as possible”

Weverse Live

July 2023

What really stuck out to me:

🐰“but there's still this idea called image. And many people love that. Let's say that people love it, and so I keep following only that path. In that case, what is it that I can change? With my own hands? When this is my own life. I've gotta be the one to make change, you know. I have to tell the people who love me "this is how I am," and I have to-- not coerce them, but I have to make it so that they can accept/recognize me.”

When will he be allowed to control his image? When will he be allowed to not fit the idea that has been created by fans from content that doesn’t reflect his stage in life anymore? When can he expand on that image, add dimension, flaws, normal human traits to it?

🐰“I mean, like, there are so many things. How should I say it, so... Even if I were to figure out [the audience's] needs and satisfy those... Would ARMYS and I be truly happy? Till the end. When there's nothing that changes.”

You can’t please everyone all of the time. To please the majority he has to sacrifice himself? His change from the image people hold of him can never be? Who is that fair to? Is it fair to him? Is it fair to the fans who want to love him for him?

🐰“Ok, if I'm being honest: that's right, before, I used to have a lot of fears, including fear of trying something new. And I used to not really feel up to doing things that are new. But this is something that you guys created for me as well. It is from you all. Because I gained so much courage from you guys. Truly. (drinks water)

& I said this in a recent live, too. Asking why you guys give your support and love to me. Because even back then, I didn't know the answer, which is why I kept asking again and again. But now, I don't want to show that vulnerable side of me to you guys. I gained confidence, and using this as a foundation, I want to keep building myself.”

Army time and time again showed him they loved all of him and trusts what he wants to do, so they gave him the confidence to try new things.

Trusting that he wants to do it and he’s spoken before about the want for these types of songs, these challenges.

They aren’t army’s challenges but his challenges.

I don’t know about you, but being a singer from a 7 piece group who for years has worked with the same people in their mother tongue, to now work with an array of people from a different country, to sing a full album in a different language and do each song with different musical genres, phew! I’m tired just *thinking about it*!

Watch the whole weverse live

GOLDEN BY JUNG KOOK

Out November 3rd 2023!

Pre-Save & Pre-Order

💜

#Jungkook #BE-hind Story #BE-hind Interview #Golden by Jungkook

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m3loria · 7 months ago

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. . . and this one?

okay, it's pretty obvious. ocean bliss is a typical summer album name, a term which summarizes the joy emanating from sunny days, splashing in the ocean, vacation, drinking, it's an album which encapsulates the essence of stretching weeks shattered in heat.

. . . % just two months after their debut album, ocean bliss was released on july eighth twenty twenty. again, somewhat unexpected, the release was much quicker than most fans of this new group expected, it was said to have been released "too early", people accusing the company of purposefully releasing projects early as a way of permeating the charts, it was "too much music" apparently, but despite the silent outcry, there was also much excitement. in contrast to the prior, this album only includes four tracks, each of them completely capturing the essence of summer fun.

. . . ▸ yet again coming around to attempt a hit to the title track, chasing summer is the album opener coming to save it all. it's so fun, so very fun, i have to get up and bust a move not gonna lie. penned by one of the summer children, hajoon, it's clear he knew what he had to do. not sure who their musical director is, but they made a mistake not having this be the title, it isn't always this good.

. . . ▸ apparently stressing the summer fun name over and over, attention! is the titular title track. though not a favorite of mine, it's much different from the groups last title track, a clear statement to the journey the groups musical direction will take in the future. it's a nice song to play on the summer night, windows left open as you drive at speeds unknown to man (do not do that, i don't endorse driving past the speed limit), i would say it deserves a crown.

. . . ▸ simply your typical summer party song, illusion details that of late night outings and getting blackout drunk, funny because only six members could probably legally drink at this time. written, produced, and arranged by again our main vocalist duo of yohan & hwan, the song was conceived literally in the middle of the night, three am in the music studio of louvix audio, maybe they snuck in a few drinks as well, some of these lyrics seem to truly amplify that fact.

. . . ▸ surprisingly already at an end, sea is a song which can give you anything. euphoria, sorrow, regret, it can give you all in one. though upbeat at a first listen, once it truly begins to settle in, you digest the dejection which entails the ending of summer, somewhat of a melancholic closing to an album that had been full of songs which were littered with happiness. seemingly in his feelings, this one included participation from kyuhyun, who also arranged the lyrics.

. . . % era notes

attention! definitely grew more than their prior title track, it was their second number one single on the gaon digital chart, holding the spot for three consecutive weeks, the single earned seven wins in it's two week promotion period

the album also did better than their prior one, surpassing 370,000 copies in pre-orders in three days, the day before it's release, it had reached 500,000 units in pre-orders

it was certified platinum by the korean music content association on august twenty four twenty twenty after it surpassed 750,000 units in sales

sea became their most streamed song of the year following the release of the album, and it remains one of their most streamed on spotify, with over seven million streams

memorable era moments

byeol forgetting the lyrics of the title track in their fanchant guide video

taro breaking the trophy at their first win, quite literally almost bursting into tears when he realized, then proceeding to burst into tears when making eye contact with the mc

"the songs are tamer now, so stop complaining" - junmin (vlive; 07.12.20)

the start of their most well known variety shows, luminosity & chronicles of meliora [com]

the groups first mafia game, which lead to probably the loudest argument in meliora history, an argument that almost became a brawl, which was then broken up by their manager in great fear

their manager earning his own little fandom after z called him "the most handsome guy i've seen in a WHILE!"

"we are not getting paid! venmo us!" - haneul (vlive; 07.20.20) (he had to confirm he was joking to quell worries)

#◝﹙ it's salty then it's sweet ! ﹚ ── discography #fake kpop group #fake kpop idol #fictional idol group #fictional kpop boy group #fictional kpop community #fictional kpop company #fictional kpop group #fictional kpop idol #fictional kpop oc #idol oc #kpop boy group #oc kpop group

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harrisonstories · 2 years ago

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So here's something interesting...

The Beatles Derek Taylor Never-Before-Heard Collection of Lost Beatles Recordings: Including the 1967 Kenwood Sessions and John Lennon Private Recordings

This is the track listing from the description:

Tape 1: Unheard Beatles Sgt Pepper Rehearsals from Kenwood late 66 early 67

Run time is 56 minutes, songs include:

Revolution #9, mainly John in many accents, George can be heard, Paul too, Ringo one time, Terry Doran is also heard being interviewed by John, Terry Doran was ‘The Man From The Motor Trade’ on Sgt Pepper, every identical animal sound effect from Good Morning Good Morning is featured throughout, probably pre-dates Pepper and John has the sound effects saved, cockerel, hens, sheep, horse, pigs, cat, dogs etc, the very ones used on Pepper. Sitar drones almost all the way through by George, Piano backdrop also

Track Listing:

That much Control

Monte Carlo rally sound effects Terry Doran is Jack Brabham Formula 1 racer

Cat Feeding Services (Monty Python esque sketch)

A million miles away, John Indian accent Beatles far east tours in 66

Crazy banjo song, JL bellows

I’m aware of the situation monologue

Swing your partners

Lennon.McCartney complaining about the heat

John and George shouting over a very loud backing track

John/Paul counting in 123 testing, JL turns it into a poem.

Dear Prudence very early demo John wrote it way before 1968

British Police are pigs, in an Indian accent

Tape 2: George Harrison With the Bonzo Dog Doo-Dah Band and Jimmy Page.

15 tracks, 59 minutes George with his Thames Valley muso friends, Jimmy Page, Jon Lord, Joe Brown, Sam Brown, Bonzo Dog Doo-Dah band (Neil Innes, Legs Larry Smith, Vivian Stanshall) Alvin Lee, all songs written by the Bonzos and George, all recorded at FP.

Track Listing:

George into talk while playing guitar, introducing a new song

Brazil take 1 written for the Handmade films project Brazil (never went to production)

Brazil take 2

Brazil Take 3

Sooty Goes to Hawaii

Mandalay monologue for handmade films production of the same name

Sooty Goes to Hawaii #2

Sooty Goes to Hawaii #3

Operatic Aria sung by Georges father-in-law and Olivia Harrisons dad Zeke Harrison, I doubt that Olivia has heard this

Bullshot theme song for Handmade films completed production.

Hare Krishna chant by everyone

Chant 2

While my Guitar Gently weeps with Jimmy Page on guitar

Same with Alvin Lee on guitar

if I Needed Someone

Tape 3: George with Bonzo Dog Doo-Dah Band band, all co-written 25.30 mins, 16 tracks

Track Listing:

Intro Legs Larry Smith

Do You Remember

Nothing Ever Changes

Urban Spaceman

Isle of Money (I Love Money)

Can you Groove (George)

There’s a Bright Golden Boil on my Penis

I Like Cesar

Misery Farm

Julie

Danda

When You Gotta Poop

Now You’re Asleep

Telling me The End

Viv Has Gone to Heaven

Mandalay Monologue #2

Tape 4: John Interviews Yoko 1969

Recorded by John in 1969, 45 minutes, John questions Yoko’s motives for being with him, discusses very personal matters, very revealing.

Tape 5: Yoko with Dr. Artur Janov

Yoko’s Primal Scream therapy 1 hr 40 mins, of very personal therapy, Yoko discusses John, music and very personal issues including John’s friendship with George.

Tape 6: “One From The Nursery” Unreleased John Ono Lennon Album

John and Kyoko Cox Tittenhurst Park

Run time is 47 minutes

4 tracks

Lots of John talking and playing acoustic guitar (sounds like his J60E) recorded at Christmas time, Various songs stand out, all written by John & Kyoko

John, I Love You

I Wish You Were my Father.

#john lennon #paul mccartney #george harrison #ringo starr #the beatles #derek taylor #yoko ono #a lot to unpack here

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lantur · 2 months ago

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good things,

Work has gotten SO much better since I decided to just focus on my passion projects! I'm developing two new projects that are going to go into a limited release nationwide this fall, and a full release nationwide in 2026. :) My two 2024 projects will wrap up their limited release by the end of spring, and will get their full release in fall. I'm excited!

Made delicious butter paneer for dinner tonight :) I've been taking advantage of occasional free time to pre-mix the spice blends for recipes I want to cook over the coming week, and that saves time and energy for when I do cook.

I've been out of the podcast world for several months, but I picked up a true crime podcast again - Digging Up the Duggars. I'm really enjoying it, especially because I just finished Jill Duggar's memoir, Counting The Cost. It's been very fun to binge-listen to the podcast while I've been cooking this week.

Lots of cuddles with Westin on my lap over the last couple of days!

Super pleased with weightlifting progress. I've been able to squat 80 pounds/36 kgs and am reliably doing weighted lunges with 75 pounds/34 kgs. I'm awfully close to being able to deadlift my own bodyweight. I'm maxing out at 115 pounds/52 kgs and I'll try to get that last 5 pounds on the bar on Friday. Seated row is 80 pounds/36 kgs as well, and I can farmer's carry with 35 pounds/15 kg in each hand.

Related - enjoyed my probably tenth re-listen to Megan Thee Stallion's self-titled album at the gym today; also discovered Monaleo and fell in love. I'll always have a soft spot in my heart for my gateways to rap, Eminem, 50 Cent, and TI, but women rappers >>>

#lanturing

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lola-babylon · 1 year ago

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Running the numbers on Brendon, Ryan, and owning the Panic! at the Disco legacy

Some people are a bit upset that Brendon Urie continued performing as PATD after Jon & Ryan left, or after Spencer & Dallon left. One of the primary criticisms you see floating around is that, by using the Panic name for his solo career from 2015-2023. Brendon was profiting off of Ryan's legacy as the main songwriter on the early albums.

Let's dig into that, especially the "profit" bit.

I've seen jokes about Ryan Ross working retail now cause he's broke. We don't know what Ryan does with his days and it's none of our business unless he chooses to share that information publicly, but AFYCSO alone has been certified 4x Platinum in the US, having sold 4 million copies. Ryan, being the main songwriter on the album, would one hopes receive a decent income stream for the royalties and has no need to work a job he doesn't want to pay the bills (recording contracts are usually a Kafkaesque nightmare, but hopefully they had a decent contract where the artists get a fair share of royalties, that it isn't all chewed up by record companies).

But if you look at the album sales over time, this is where it gets interesting.

(well, interesting to a stats and facts wonk)

Here's the Recording Industry of America's certification record for AFYCSO - you can check for yourself here

The album went platinum, meaning sales of a million copies, in 2006, a year after it was released. It took another 9 years for the album to double that figure, selling 2 million copies by 2015 and achieving 2x platinum. But then things took off, with AFYCSO reaching 4 million sales by June 2023 and the resulting 4x platinum certification.

But what stands out here is this - AFYCSO was released in 2005. And fully half of all sales of AFYCSO took place after 2015.

2015 was the year that Panic became a solo project of Brendon Urie's. It also marked the start of the period of some of the band's highest sales since the early days, including their first number one charting album, a second number one album, and (Jebus, please save us from) the single "High Hopes". And Brendon toured extensively - musicians used to tour to encourage people to buy their albums; now that most music is digital musicians rely touring as their largest source of income, which is one of the reasons why a ticket to see Led Zeppelin on their 1975 U.S. tour cost $31 adjusted for inflation to 2023 dollars, but seeing any decently sized musical act in concert these days will set you back well over $100 and that's just for starters.

(I told you I was a stats wonk).

Anyway, through all that work, Brendon was using the Panic name, sure. Was he entitled to? That's not my point here. What he was doing was keeping the Panic name in the public mind, entertaining old fans and winning new ones (not my thing, but again that's not my point) and in those years, those fans purchased 2 million copies of AFYCSO, and as the main songwriter on the album Ryan has received the largest share of the royalties from those sales. Ryan earned and was entitled to that money, of course, but would AFYCSO have sold two million copies between 2015 and 2023 if Brendon had retired the Panic name and continued as a solo artist?

Let's be realistic. No.

When people heard High Hopes or any of the other post split music, they were hearing a Panic at the Disco song. If they liked it, they'd look up the artist Panic at the Disco, find the band's earlier work, and buy/stream it. If they'd heard High Hopes as a Brendon Urie song, and looked up the artist Brendon Urie, is it likely they'd have followed the bread crumb trail, learned about this now defunct band called Panic at the Disco Brendon used to be in, and bought that band's stuff too?

We could go back to 2004/2005 and debate whether Panic would have made it as big as they did back then without Ryan's songwriting skills and determined online hustling of the band. Or without Brendon's vocals and stage presence, or Spencer's creative vision for their image and live performances. Or without that they were all so young, they were just crazy brave enough to put their all into the band when if they'd been only a few years older, they might have been worried about the future enough to stay in or go to college, or train as a hairdresser or whatever. Or for that matter whether they had all that, and the right sound at the right time, and made the right connections, oh and they weren't exactly bad looking. There's so many reasons bands do or don't make it. Just talent is never enough. Trying to work out which parts of Panic's early success were due to the respective talents of Ryan, Spencer, and/or Brendon nearly 20 years on is like trying to unscramble an egg (even Brent paid a role, through the loans his parents provided to help pay for the band's practice space and van for the early tours). But it's unrealistic to say Panic was a success solely because of Ryan or that Brendon trampled all over that to get to the top solo. Either way....

Brendon Urie continuing as Panic has been, financially, very benefical for Ryan. Brendon continuing with the Panic name has meant AFYCSO was from 2015-2023 the first album of a very successful currently touring act, and not a footnote to Brendon Urie's career from his now defunct first band (I don't see it that way at all - this post is about album sales and money, not artistic integrity). And Ryan has received the royalties from albums that would never have been sold if PATD officially disbanded in 2009 or 2013 or whatever.

And whilst Ryan has been at home restoring antique cuckoo clocks or whatever he chooses to do, Brendon's been missing his family, home, and dogs, getting up at 4am to catch flights, living out of suitacses, answering inane interview questions, sleeping on tour buses and wondering what country he's in today - and, indirectly, making Ryan money. If Ryan only cared about money he probably would have continued on with Panic past 2009, but I'm sure the royalties he's received since 2015 haven't been a burden either. I'm not saying Ryan owes Brendon anything, he doesn't, and Brendon only lived that life because he loved it, or thought the performing bit made it all worth it (along with making a bunch of money for himself).

This post has focused on AFYCSO, though of course Ryan also gets royalties from Pretty. Odd, which has had a long overdue reappraisal from audiences who realise it's really fucking good. (I'll use the correct punctuation this once, but there was no way I was going to add an exclamation point every time I typed the word panic). Anyway, crunching the numbers on one album was enough. But Brendon didn't profit off of Ryan's legacy by continuing as Panic. It's been very profitable for them both.

#brendon urie #ryan ross #panic at the disco #a fever you can't sweat out #afycso #p!atd #pre split panic #panic! at the disco #spencer smith

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dallmustdie · 2 months ago

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hi. i wish to get more into bands. where should i start with fall out boy. (i mean with their first album obviously but like. what are their albums and what other things have they released etc.) thanks!

This is a long answer, so be prepared!

There are two eras to Fall Out Boy: pre-hiatus(anything released b4 2009) and post hiatus (anything after 2013)*.

*the group went on a brief hiatus, lasting from 2009-2013.

I also decided to add some abbreviations for you!

One of the first things the group ever released was an EP called Evening Out With Your Girlfriend (EOWYG) in March 2003. The band doesn't like to credit this as their first album, however, due to a few factors: production was rushed and they weren't happy with the final result, Andy wasn't on the album, and then the record label had the audacity to release this WITHOUT THEIR PERMISSION!

The band considers their next album, Take This To Your Grave (TTTYG), released in May 2003, to be their true debut album. It's got songs like Dead On Arrival, Grand Theft Autumn / Where's Your Boy?, Saturday, and Chicago Is So Two Years Ago.

Before the release of From Under The Cork Tree, they released another EP called My Heart Will Always Be the B-Side to My Tongue in May 2004. This EP was also accompanied by a DVD.

Their second album, From Under The Cork Tree (FUTCT), was released in May 2005. It has such songs as Sugar, We're Goin' Down, A Little Less Sixteen Candles, and Dance, Dance. The deluxe version of this album adds five new songs to the album: Snitches And Talkers Get Stitches And Walkers, The Music Or The Misery, a demo for My Heart Is The Worst Kind Of Weapon, and remixes of Sugar, We're Goin' Down and Dance, Dance.

Their third album, Infinity On High (Infinity/IOH), was released in 2007. Here's a little fun fact: I was born one month to the day after IOH was released. Anyways, this album has songs like I'm Like A Lawyer..., Thks fr the Mmrs, and This Ain't A Scene, It's An Arms Race. The deluxe version of this album adds three new songs to the album: GI.N.A.S.F.S., It's Hard To Say "I Do" When I Don't, and three live performances of Thriller, Dance, Dance, and This Ain't A Scene, It's An Arm Race.

Folie a Deux (Folie) was the last album Fall Out Boy released before going on their brief hiatus in 2008. It is speculated that the reception of this album contributed to their hiatus. This has songs such as I Don't Care, America's Suitehearts, and What A Catch, Donnie.

[the group goes on their hiatus from 2009-2013]

In April 2013, the group returned in full swing with Save Rock & Roll (SRAR). This album has My Songs Know What You Did In The Dark, Miss Missing You (my personal fav), and Alone Together. All of the songs on this album got music videos and tell a story called The Youngblood Chronicles (go look it up, it's a fun watch).

In January 2015, they released American Beauty/American Psycho (AB/AP). This has songs has Jet Pack Blues, Fourth of July, Uma Thurman, and Centuries.

In January 2018, MANIA was released. This has songs such as Church, Bishops Knife Trick, and Last of the Real Ones. This album has very mixed reviews.

They released yet another EP called Lake Effect Kid in August 2018.

[five years later]

In March 2023, Fall Out Boy dropped So Much (For) Stardust (SMFS). This has such songs as Love from the Other Side, Hold Me Like a Grudge, the title track, and their cover of We Didn't Start The Fire.

I left out a couple of things, like Make America Psycho Again (an album filled with remixes of their songs from AB/AP), an EP filled with remixes of Thks fr the Mmrs (one of which features Kanye West???), and a live album. They also have a bunch of covers floating around the internet, so it would be damn near impossible to name them all.

I hope this helped!

#answered asks #im sorry if this wasn't helpful in the slightest

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omegalomania · 2 years ago

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i kept forgetting to do this, but i finally remembered we got permission to upload the full pieces done for the SEASONS ZINE! they're not quite as good without @deathchic's gorgeous prose accompanying them, but they were really exciting to put together.

full breakdowns of the symbolism and unobstructed views of each card can be found beneath the cut, fully transcribed. as a warning, they are LONG.

my category was "fall," which encompassed the folie and save rock and roll eras, including the welcome to the new administration mixtape and pax am days ep. seeing as i've a great deal of love for all four of those works and fall out boy has four members, i decided to highlight each work by creating a tarot-inspired card, each featuring a member of the band.

Welcome to the New Administration: Pete Wentz

Pete was the primary organizer behind the viral campaign for CitizensFOB, making him the ideal pick for this card. His card prominently features his bass guitar with the iconic Clandestine logo.

Repeating Number 4: 4 stars above the eagle's head, 4 markings across the cube at the center, 4 members of the band

The tri-colored drapes behind Pete were suspended behind the band on the mixtape cover. The curtains parting over a black background signifies the oncoming hiatus.

The cube-like geometric shape in front of the eagle represents the single promotional art done for "America's Suitehearts," which was one of the tracks demoed in the mixtape and one of the singles that connected most prominently with the themes of the mixtape.

The shield Pete carries and the eagle mounted behind him are both symbols that were used to promote the CitizensFOB viral campaign, featuring the catchphrase: "For Our Betterment, There Is More Mayhem."

Pete's apparel is what he was wearing for the Believers Never Die Part Deux tour, in which there was a lot of direct satirization of Wall Street and American politics. All the band members were wearing suits and looking visibly battered, and Pete had a nosebleed. Patrick also has a nosebleed on his own card; both Pete and Patrick's cards are pre-hiatus projects.

The symbols at the four corners of the card are indicative of the imagery surrounding the campaign. The pointing hand comes from the cover for the mixtape; the airplane is a reference to the "Mailbaick Vaintey and Pidetaerson Firm" videos and accounts that were used in the viral campaign; the wolf head is for the "Alpha Dog" demo, which made its debut on the CitizensFOB mixtape and namedropped "Welcome to the New Administration" title in its demo form; the boomerang is for the "Lake Effect Kid" demo, which also made its debut on the CitizensFOB mixtape.

"The Citizen" is an obvious reference to the "Citizens For Our Betterment" campaign name.

The card features 12 colors, all colorpicked from the Welcome to the New Administration mixtape cover. This represents the 12 artists who contributed the mixtape musically (not merely speaking roles): The Academy Is..., Butch Watcher, The Cab, Cobra Starship, Fall Out Boy, Four Year Strong, Gym Class Heroes, Hey Monday, The Hush Sound, Panic! At The Disco, A Rocket to the Moon, and Tyga.

The background elements are indicative of the state of the band prior to the hiatus: the leaves are in tatters and shreds. The sunflower is a native Chicago variant, Helianthus occidentalis, late-blooming sunflower that lasts well into early fall. Sunflowers obviously have a strong association with the sun, but they also stand for adoration, loyalty, good fortune, vitality, longevity, and prosperity. The bright yellow color also associates them with intelligence, happiness, and friendship. Van Gogh had a famous Sunflower series, leading to the obvious connection to Infinity on High, the album preceding the Folie era. This made it a good pick for the pre-hiatus cards, since it was loyalty and friendship that led to the hiatus and ultimately to the band's longevity and vitality. Both Folie à Deux and the Welcome to the New Administration mixtape had more yellow tones than their post-hiatus counterparts as well, thus the pick of a yellow flower.

Folie à Deux: Patrick Stump

Patrick has stated that Folie à Deux is the most "him" out of Fall Out Boy's discography, making him ideal for this card.

Repeating Number 4: 4 electric bursts from the microphone, 4-sided symbol mounted on the microphone, 4 ruffles on Dr. Benzedrine's front

The card features 13 colors to represent the 13 tracks on the album itself (excluding bonus tracks). All colors were colorpicked directly from the album cover.

The anchor is a reference to the lyrics of "27," with a crown symbol on it in reference to "Headfirst Slide into Cooperstown on a Bad Bet."

There are 9 stripes on the upper side of the background, as a reference to "West Coast Smoker" - the suicidal cats have 9 lives.

The microphone represents Patrick's role as vocalist. It is also a reference to "(Coffee's for Closers)," as the microphone stand is electrified.

Patrick's right half is modeled after his costume in the "America's Suitehearts" video, "Dr. Benzedrine." He has a nosebleed in reference to the lyrics of the song that is his namesake, "20 Dollar Nose Bleed." Both he and Pete represent pre-hiatus projects, and both have bleeding noses.

Patrick's left half is modeled after his costume in the "What A Catch, Donnie" video. He has 20 stripes on his shirt - half black and half white, keeping with themes of duality. The 20 total stripes also references "20 Dollar Nose Bleed."

The background on the bottom half is shattered into 15 visible fragments, indicating the 15 tracks of the full album (when including bonus tracks such as "Pavlove" and "Lullabye"). There are also 27 fragments scattered between the two halves of Patrick, representing "27" and the 27 club.

The symbols at the four corners have dual meanings, in keeping with the theme of duality. The bee is both a lyrical reference to "Lullabye" and a nod to the intro of "Disloyal Order of Water Buffaloes"; the storm cloud is both a nod to the lyrics of "She's My Winona" and a reference to the "Mr. Sandman" character in the "America's Suitehearts" video; the horseshoe crab is both a reference to the lyrics on "The (Shipped) Gold Standard" and to the character of "H. Shoe Crab" in the "America's Suitehearts" video; the sunflower acknowledges the lyrics in "27" about shooting the sunshine into one's veins and nods to the flower on the hat of the "Donnie the Catcher" character in the "America's Suitehearts" video.

"The Mirror" references the theming of duality on the album, as well as the fact that the vinyl required a mirror for one to read the tracklisting since the text was printed backwards.

The card features heavy themes of duality to suit the theme of a "madness shared by two." The image is bisected in several respects: Patrick is fractured in two, both halves wearing different costumes and expressions; the shadow in the center is split down the middle; the broken heart in the upper half is also two faces; the image is divided both horizontally and vertically; and a dichotomy of fire (the electrified microphone stand) and water (the anchor).

Save Rock and Roll: Joe Trohman

Joe took a much more active writing role post-hiatus and on this album in particular, making him a good pick to represent Save Rock and Roll.

Repeating Number 4: 4 symbols, 4-pointed symbol holding up the others

The card features 11 colors, representing 11 tracks on the album. All colors were color-picked directly from the album cover, with an emphasis on reds, to suit the "red palette" imagery surrounding the album.

This card is saturated with imagery from the 11-part video series the band released in conjunction with the album, "The Youngblood Chronicles." Joe is wearing the costume he had for the majority of the video series prior to his death.

The card features heavy fire imagery due to this being a motif on the album and on the associated video series, with smoke rising up in the background. This is indicative of the band "rising from the ashes" post-hiatus, and also symbolizes the resurrection of Joe's character at the end of "The Youngblood Chronicles."

The guitar-axe weapon is from the "Death Valley" video and would have been his weapon if he weren't dead at this point in time. The card prominently features Joe's guitar, albeit turned into a weapon, as befitting the theming.

The four symbols mounted behind Joe are also from "The Youngblood Chronicles" - the symbol representing the "Silence the Noise" group; the symbol associated with the gang of child bikers; the symbol the Prince of Darkness tattoos on Joe's hand; and the crown-and-volcano symbol associated with the band post-hiatus. The symbol upon which these four icons are mounted is found on the floor in Heaven in the "Save Rock and Roll" video.

Joe is the only one who does not face the audience directly, and is turned in profile. Given the fictional nature of the narrative of "The Youngblood Chronicles," he has the most distance from the fourth wall.

The symbols at the four corners of the card also draw from imagery from "The Youngblood Chronicles." The disco ball is from the "Where Did the Party Go" video, in which Joe's character dies. The briefcase is a consistent object throughout the entire series, and serves to incite the entire narrative. Patrick's hook hand, also seen throughout, is significant due to Patrick's unwitting role as Joe's murderer. The snake, seen in "Young Volcanoes" and "Just One Yesterday," is representative of the group's collective trauma.

"The Defender" is a reference to the names of the characters of Fall Out Boy in "The Youngblood Chronicles," as they are referred to as "The Defenders of the Faith" in the longform video's opening credits. This title is in and of itself a reference to the title track on Save Rock and Roll.

Pax Am Days: Andy Hurley

The Pax Am Days EP is closest to the band's hardcore roots in terms of sonics and composition, and Andy is the most active in hardcore circles today, which makes him an ideal pick for this card.

Repeating 4: 4 holes in the American flag, 4 supports visible on the toms and bass drum, 4 tears on the left side of the wall

The card features 9 colors, all color-picked from the EP cover, per the 9 tracks on the EP (counting the bonus "New Dreams" Naked Rayguns cover).

There are also 9 tears on the right side of the wall, also befitting the 9 tracks on the EP.

The black-and-white checkered background represents the Pax Am studio where the EP was recorded and after which it was named.

Andy is the only one whose card features him looking directly at the audience, to signify the more intimate recording sessions behind the EP, in which studio chatter and laughter can be heard between every track. Being the drummer of the band, Andy's drumkit is naturally featured very prominently.

The crown-volcano symbol that's become synonymous with the band post-hiatus is (barely) visible mounted on Andy's bass drum. This is a similarity Andy's card shares with Joe's, as they both represent post-hiatus projects.

The American flag was also present in the studio for recording. The flag being torn and shredded on the card relates to tracks on the EP that discuss disillusionment with the American dream ("American Made"). It is also indicative of the eras preceding and following the Pax Am EP (Folie à Deux and the Welcome to the New Administration mixtape, and then American Beauty / American Psycho).

The four symbols at the corners of the card all represent lyrics present on the EP: the crown comes from "We Were Doomed from the Start (The King is Dead)"; the lion comes from "Demigods"; the black widow comes from "Hot to the Touch, Cold on the Inside"; the skull comes from "Love, Sex, Death."

"The Believer" is a reference to the final compilation prior to the band's four-year hiatus, "Believers Never Die." With the band returning seemingly from the dead, it seems that believers truly never die. This is paired with Andy reportedly being the only member of the band who always believed they would get back together, even if none of the others did.

The background elements for the post-hiatus cards feature leaves with much more reddish tones. The color red has a great deal of symbolic meanings, including high energy, vitality, strength, and prosperity. Additionally, the fallen leaves are rich and whole, to contrast the shredded-looking leaves in the background for the pre-hiatus cards. After the hiatus, the band's overall health and mentality was much healthier.

The flower in the background is a Madame Julia Correvon clematis, a wine-red Chicago variant of clematis that blooms in the summer and fall. Clematis flowers are associated with mental acuity, wisdom, travel, aspiration, and mischief. Red clematis in particular is associated with passion, energy, good luck, prosperity, security, physical vitality, and courage. This, along with the red color scheme, made it a good flower to represent the cards for the post-hiatus projects.

#fall out boy #fob #seasons zine #*mine #*art #ids in the alt text #i overthought so much of this symbolism lol #and the flowers arent 100% accurate to what theyre supposed to look like...#alas! it was fun regardless

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