#Blockbuster Songs of 1999

[x--daughters-of-darkness--x]

"It’s more than sales – it inspired an entire generation of young girls to know they had a place in heavy music." Inside Fallen: the album that turned Evanescence into instant 21st century metal superstars

No rock band had an explosive a rise in the 2000s as Evanescence. This is the story of their classic debut album

Evanescence’s Amy Lee was at one of the many awards ceremonies she attended back in the first half of the 2000s when she was approached by a fan. This wasn’t unusual in itself, except this fan happened to be rapper and mogul P. Diddy.

“He said, ‘I love your album, I listen to it when I work out’,” Amy tells Hammer today. “And I was like ‘Really? That’s awesome!’ That was surprising to me. You know who I am? That’s weird.” Weird is right. Just a couple of years earlier, Amy had been a shy, aspiring singer and songwriter who had played no more than a handful of times with the band she’d co-founded as 13-year-old almost a decade earlier. And now here she was, getting star-spotted by hip hop A-listers at swanky awards ceremonies.

“What do they call that thing? Imposter syndrome!” she recalls today. “I definitely felt like I’d snuck in the back door and somehow got to go to the Grammys. Like, ‘I’m not supposed to be here and people do not know who we are and this is a prank.’ I think part of that is just it all happening so fast and being so young.”

The reason for the attention was down to the blockbusting success of Evanescence’s debut album, Fallen. Originally released in March 2003, and about to be reissued as a deluxe 20th anniversary edition, Fallen appeared at the tail-end of the nu metal boom. It offered a gothier, more dramatic take on that sound, which bridged nu metal and both the rising symphonic metal and emo scenes. It would go on to sell more than 10 million copies in the US alone, turning Amy Lee into an icon and role model for a generation of young, female fans.

Amy describes the young, pre-Evanescence version of herself as “a little bit shy”. Earlier this year, she told Hammer’s sister magazine, Classic Rock, that the death of her younger sister, Bonnie, when Amy was six, was a catalyst for “this soul, spirit- searching, expression mode”, which would eventually manifest itself in music. She wrote her first song aged 12, and others quickly followed. “I wrote plenty of songs that were crap,” she says with a laugh. “You just haven’t heard them.”

Things became more serious when she met future Evanescence guitarist Ben Moody in 1994 at a Christian Youth Camp in Little Rock, Arkansas, where her family had moved to a few years earlier. She was 13 and Ben a year older, though the two decided they could make music together. Amy describes their initial endeavours as “more like an electronic duo, like Massive Attack” than an actual band, though some of their early songs would end up on Fallen, including Imaginary, Whisper and My Immortal.

The nascent Evanescence didn’t play a gig for nearly six years, partly because of their youth, and partly because they wanted to concentrate on honing the songs they were writing. “The live part for me at that time just wasn’t my focus,” she shrugs. “I wanted to make stuff.”

Their first release was a self-titled debut EP that came out in 1998 via local label Bigwig, followed by another EP, Sound Asleep, the following year (both featured songs that appeared on Fallen). They’d played a few a low-key acoustic shows in their early days, but their first proper, plugged-in show was at a bar named Vinos in Little Rock on January 2, 1999, less than a month after Amy turned 17.

“It was difficult to be on stage at first,” she says. “I had to really work at being a good performer. I remember the first time we played a gig and four people knew the chorus to one of our dumb little songs,” she adds, self-effacingly trailing off.

It was an early version of My Immortal that caught the attention of Diana Meltzer, head of A&R at Wind-up Records, in 2001. Amy had just enrolled in college to study music theory composition when she got the message that Wind-up were interested in Evanescence - essentially herself and Ben.

“I still wanted to make music, but I was going to study so that maybe one day I could work on film scores as a backup plan,” she says. “We got signed three months in. I had one semester of school. I literally went from graduating high school to moving to LA and making our album in a year and a half.”

Producer Dave Fortman can remember the first time he heard Amy Lee sing Bring Me To Life in the studio. The guitarist in 1990s rockers Ugly Kid Joe pivoted to production after the 1997 break-up of that band, working with the likes of Superjoint Ritual and Crowbar before signing on to produce the debut album by an unknown band from Arkansas called Evanescence. After listening to their demo, he jumped at the chance to work with them. And then came the moment when Amy began singing in the studio.

“Amy was in the booth and this voice just came out,” Dave tells Hammer. “My engineer, who has worked with some of the biggest names in music bar none, turned to me with his jaw on the floor and said, 'Goddamn! This girl can sing.’ You just forgot where you were, you weren’t working anymore, you were just in awe of her. They were the most talented people in their age I’d ever been in contact with.”

The Evanescence that recorded Fallen was Amy and Ben, plus keyboard player/string arranger/co-songwriter David Hodges (who joined the band in 1999) and an array of session musicians, including future Guns N’ Roses/Foo Fighters drummer Josh Freese. Dave Fortman estimates the album cost around $250,000 to make – a sizeable sum now, but relatively modest at a time when seven-figure budgets weren’t uncommon (Korn’s 2002 album Untouchables reportedly cost $4 million). Some of that budget went on the real-life orchestra that Amy insisted on using for many of the songs – a bold move for a new band, when an electronic recreation would have been cheaper.

“None of us were ever going to back down on that,” says Dave Fortman. “It had to be that way or it wasn’t going to work. We recorded the orchestra in Seattle where they have no union, so it was cheaper. If we’d have known it was going to smash in the way it did, hell yeah, we would have just recorded them in LA!”

Evanescence didn’t get everything their way. Bring Me To Life, which addressed Amy’s feelings of numbness while in an abusive relationship,  was augmented by the inclusion of rapper Paul McCoy in an attempt to appeal to the nu metal market - a decision that went  against the band’s wishes. “I was so scared in the beginning that we were going forward with something  that wasn’t a perfectly honest picture of who we were,” Amy told Metal Hammer earlier this year. “But it didn’t last long. After a few songs, the mainstream was able to hear more than the one song and it was like, ‘OK, they at least sort of get what we are.’”

Advance expectations for Fallen were modest when it was released on March 4, 2003. “If it had gone gold [500,000 copies], we’d have A all been delighted with that,” says Dave Fortman. As it turned out, the album smashed it, selling more than 140,000 copies in its first week of release alone and reaching No.7 in the US Billboard charts. Bring Me To Life was a huge factor in that success. Like My Immortal, the song made its first appearance on the big- budget, Ben Affleck-starring Daredevil movie, which hit cinemas a few months before Fallen came out. 

When it was released as a single in its own right, accompanied by an expensive-looking urban-gothic video that saw a nightdress- clad Amy somnambulantly climbing the side of a tower block, like a cross between a character from an Anne Rice novel and a comic book superhero, Wind-up reps had to beg radio stations to play it (“A chick with piano on a rock station?” was a common response). Those that did air it soon found their phone lines jammed with people who wanted to know what it was that they’d just heard. It entered the US Top 10 and did even better in the UK, where it reached No.1.

Bring Me To Life and subsequent singles Going Under and My Immortal put wind in Fallen’s sails. Those 140,000 sales shot upwards at a vertiginous rate: within a month, it had sold more than a million copies in the US alone. By the middle of 2004, it had reached seven million (in 2022, Fallen was awarded a diamond certificate for US sales of more than 10 million). The speed of the ascent left Amy Lee dazed. “There was just so much going on,” she says, exhaling. “I don’t know if I got to focus on it that hard at the time.” 

The label wanted to get Evanescence out on the road to capitalise on that initial success. A touring band was assembled around Amy and Ben – guitarist John LeCompt, drummer Rocky Gray and bassist Will Boyd were recruited to back them. Their rise as a live band was equally dizzying. The day Fallen was released, Evanescence headlined the 200-capacity Engine Room in Houston, Texas. Three months later, they made their first UK appearance playing the Main Stage at the inaugural Download festival, sandwiched between Stone Sour and Mudvayne. Two weeks after that, they returned to the UK to headline a sold-out show at London’s prestigious Astoria.

Inevitably, given the scale and velocity of Evanescence’s success, it didn’t take long for the backlash to kick in. Amy was the focus of much of the criticism, with the barbs ranging from the petty (one magazine questioned her goth credentials) to the outright misogynistic (she was painted as a diva with absolutely nothing to back it up other than the fact she was a woman). Evanescence themselves were perceived by some of their detractors as nothing more than a cynical marketing experiment; the phrase “Linkin Park with a girl singer” appeared a depressing number of times back then, which diminished the decade or so Amy and Ben had invested in their band and music.

“I felt a lot like people wanted to see me fail, especially in the beginning,” Amy says. “I think it’s partially that they want to see if you’re the real thing, and when you shoot up so fast and you have a lot of success really quickly, I think there’s a little bit of a human nature thing that wants to poke a hole in that. I felt on the defence, I felt misunderstood – I’ve got a badass, bitchy look on my face on the album cover, so obviously I must be some kind of bitch.”

Amy was just 21 when Fallen was released, and the criticism took a toll on her. “It was hard as a young person to feel misunderstood,” she reflects today. Things became even more complicated when Ben left acrimoniously in October 2003, just six months after the release of Fallen, with creative differences cited at the time as the reason for the split (in 2010, he admitted to trying to force the singer out of the band they had founded together).

“I felt frustrated,” says Amy. “I wanted to hide a bit in that initial aftermath. People always wanted to attach me to drama, like Ben leaving the band. All of that was trying to be made to make me look bad, like it’s my fault or, ‘Well now it’s going to suck because she didn’t actually do any of the work, obviously all the men behind her did all the writing and the creation.’ It just made me angry a lot.”

The criticism and fractured personal relationships may have been difficult to deal with, but the impact Evanescence had was undeniable. Fallen landed at a transitional time for metal. By 2003, nu metal was on a downward trajectory creatively and commercially, with scene heavyweights Korn and Limp Bizkit both releasing dud albums in the shape of Take A Look In The Mirror and Results May Vary respectively. The New Wave Of American Heavy Metal was bubbling up, but it didn’t possess the same kind of mainstream crossover potential.

Fallen was different. Nu metal may have been in its DNA, but so was goth and electronic music. It was heavy enough for metal fans but it was also dramatic and heartfelt enough to draw in the emo crowd and pop fans alike. The soaring piano ballad My Immortal, with its narrative of a grieving relative haunted by the spirit of the family member they’re mourning, and Going Under, another song detailing the feelings of hopelessness that come from suffering in an abusive relationship, were unquestionably dark, but Evanescence wrapped them up in ear-worm hooks and gothic allure, while Amy’s presence imbued them with a distinctly feminine spirit that was a world away from nu metal’s over-testosteroned aggro.

The broad-church appeal of Fallen was reflected in the range of musicians who garlanded it with praise. Over the years, it’s been cited as an inspiration by everyone from Lzzy Hale and The Pretty Reckless’s Taylor Momsen to pop star Kelly Clarkson. Björk praised Evanescence and so, more surprisingly, did Lemmy, a man not known for his love of goth-tinged ballads.

“They’re fucking excellent,” said the late Motörhead frontman when asked for his view of the band. Even more significant – and noticeable – was the devotion Evanescence, and Amy in particular, almost instantly inspired among fans, especially female ones. The look she sported in music videos, magazine photo shoots and TV interviews – goth-style corsets, black and red eye make-up - was taken up by countless rock club kids up and down the country.

But arguably the most lasting impact Fallen has had is musical. It marked a changing of the guard: not just the end of nu metal, but the beginning of the rise of symphonic metal. Bands such as Nightwish and Within Temptation released albums before Fallen, making sizable waves in mainland Europe, but Evanescence put a distinctly American spin on it, turbocharging symphonic metal’s rise on the back of Fallen’s success. Even now, Amy’s too modest to acknowledge the influence that Fallen had.

“People are always asking me that question: ‘What is it about that album that resonated with people so much?’” she says. “I don’t know. Some of it’s just out of your control. At that age and that time in my life, I don’t think I would have given myself that credit.”

Dave Fortman is far more forthright on the subject. “Did I notice it?!” he says. “How could you not?! That’s what happens when you become, not just a big band, but an icon. She truly changed things. All those symphonic bands that came in their wake? They’re all Amy’s children.”

Fallen helped turn Evanescence into one of the biggest bands of the 21st century. They beat superstar rapper 50 Cent to the award for Best New Artist at the 2004 Grammy Awards (Bring Me To Life also took the trophy for Best Hard Rock Performance). To date, the record has sold more than 17 million copies worldwide – only Adele, Eminem, Norah Jones, Lady Gaga and Linkin Park released albums that have sold more during that time.

Dave calls Fallen “a life- changing album”. He explains: “It’s more than sales – it inspired an entire generation of young girls to know they had a place in heavy music. To show they didn’t have to ever compromise.” It’s a sentiment Amy shares as she looks back at the shy 21-year-old of 2003.

“It was crazy, it was awesome,” she says. “But there was a lot for me that was going on personally, turmoil and relationships within our band. It was just this wild time where so many things that felt huge were happening at the same time. Did it change the musical landscape? I don’t know. But it inspired somebody for something good, it made them walk back from the edge, feel their self-worth in some way. I think it’s truly a gift and a blessing in my life.”

Originally printed in Metal Hammer #381

[soshiharin]

early life

jang harin was born in gyeonggi, korea to korean parents. her father is a professor and her mother is a doctor. she is the oldest child and has a younger brother. her family moved to south shields when she was three years old and her brother was born there. they lived there until she was ten years old.

growing up, harin enjoyed singing and dancing. she would rent musicals from the nearest blockbuster and sing along to the songs when she watched them.

her family moved to brescia in 1999. the middle school she went to had a drama department so she joined. she went to a scientific high school (liceo scientifico) but one of her friends went to a music school, and she joined the choir as an out-of-school member

when she turned thirteen, her parents started to tell her to think of being a doctor. she knew she wanted to be a broadway singer when she grew up, but she decided to humour her parents and read about it. as she got older, her parents began to put more pressure on her to study medicine. once they began to feel like all their effort was for nothing, they turned to her brother to pressure him.

one day, her parents told her to do a summer internship at a hospital, which she had no interest in. a few days later, her friend’s school put on a musical production, with her singing a solo. one of the people in the audience worked for sm and was visiting family and asked harin to meet her and her colleagues and audition for sm. she ended up making it in and after discussing with her parents for a while, she moved to korea with the deal that if she didn’t debut in two years, she would go to medical school

trainee life

when she moved to korea, she enrolled into an international school on an academic scholarship. due to her choir experience, she was already a strong vocalist and knew how to move her body in a way that didn’t affect her voice. her dancing abilities, however, were average so she worked hard to improve in that area.

as the deadline for her two years were coming up, she felt sad, knowing she’d have to go to medical school, but she was soon added to the lineup for girls’ generation

debut with snsd

the general public had a warm response to harin when she debuted. they focused more on her visuals than anything else which sometimes frustrated her, but her talents were soon recognised. sm entertainment took note of how everyone focused on her visuals and told her to act extra confident about her visuals on variety shows. she has released two solo mini-albums, two solo full album and has acted in numerous kdrama’s.

on-stage, harin is known for her amazing dance lines and soothing vocals. she is very good at perfectly expressing the theme of the song with her facial expressions and especially shines during the more mature songs.

off-stage, she is known for her tsundere personality. she can sometimes be a savage, but that’s just to her members. she’s an extroverted introvert, so while she does like to socialise, she often has to take a break to re-energise

©️ jang harin

[dynamite-derek]

RIP Akira Toriyama

It was the summer of 1996. A younger version of myself waltzed into a rip-off blockbuster, one of those family owned joints that often gets conflated with Hollywood Video, and was struck by the cover artwork of one game in particular. Chrono Trigger. It drew me in like a siren's song. It just looked so cool. I had experience with Earthbound, Super Mario RPG and Final Fantasy III at this point so I wasn't unfamiliar with the Japanese role playing game genre, but that isn't what brought me to the dance. It was the art.

Chrono Trigger would go on to become a major part of my personality as a youth. There was about a week straight where I would go around talking to nobody in particular using old English, like my favorite character Frog did. Thank you Ted Woolsey for that. CT would go on to form the basis for a lot of my video game opinions.

I remember getting Chrono Trigger for Christmas randomly in 1997. It had yet to become the holy grail of eBay, it was just a random gift from my uncle who knew how to use the Internet. I spent so long just glancing at the instruction manual and thinking the characters looked so cool. It's one thing to see a little pixel version of Lucca convince Crono that hopping into a teleporter is a good idea, it's another thing to see a fully illustrated version of the same character.

Don't even get me started on how I felt watching those anime cutscenes that came with the PS1 version for the first time. I consider Earthbound to be my favorite game ever, but Chrono Trigger is really what started my JRPG fix. Would I have gotten as deep into JRPGs as I did without Chrono Trigger? Would I be writing this right now? One of the first things I talked to my wife about was the Final Fantasy franchise, specifically my cat named Quistis. Would I have even grabbed that appreciation for Final Fantasy VIII without having been exposed to Chrono Trigger?

Fast forward to 1999. I had just moved to Colorado Springs, Colorado as a sixth grader. I had no friends. I didn't know anybody. It felt like the world had aged up around me. Everybody was using swears and talking about mature topics and I felt so out of the loop. In our temporary hotel housing I vividly remember turning the channel to Cartoon Network and stopping because the art style interested me. It looked kind of like that game I played back in 1996. Dragon Ball Z.

I can see it now. Vegeta was fighting against Recoome while Gohan and Krillin looked on exhausted. Things were looking bleak but some guy named Goku was on the horizon. I had no idea who any of these characters were but I knew they reminded me of something I loved with all my heart. From that point, Dragon Ball would go on to be something I absolutely cherished. Just like Chrono Trigger, it would help define my taste for years to come.

I remember being in high school wearing ridiculous looking Dragon Ball shirts because I thought the sleeves were really cool, I remember going to Toys R Us and seeing a damn near immobile Vegeta action figure that lacked his Saiyan-saga armor and I was so excited to bring it home. I remember hopping on limewire and downloading fansubs of Dragonball Z movies where the subtitles had characters swearing up a storm just because they could. How would I know any better? I didn't speak Japanese! I even downloaded all of Dragon Ball GT because I wanted to see where this wacky thing would go.

That specific anime would define a wide portion of my Internet life. I would post on the Funimation forums talking about whatever episode of the dub was most recent. It was there that I made a lot of my first Internet friends, including girlfriends. It was that forum that led me to create my own little Internet forum called Lindblum, a place that I still remember fondly to this day. I didn't have a lot of friends. I was an Airforce brat who moved around all the time, so it was hard for me to chat with people who knew each other for their entire lives. Lindblum was where I socialized and grew up as a person. Where I learned how to socialize and talk to people from all walks of life.

Writing on forums is what got me into writing in general. I was a lazy kid in school. I didn't care about anything except for video games. Writing was the exception to that, it was the only thing I considered myself actually decent at. I didn't understand math but I understood how to communicate what I felt to others. I work in journalism to this very day because of that fascination with writing. I have this dinky little blog I maintain because of that. Thanks to Internet forums. Thanks to Dragon Ball Z. Thanks to Chrono Trigger. Thanks to Akira Toriyama.

Toriyama, indirectly, helped shape me as an individual. A guy thousands of miles away from me who I had never met before, who didn't know my name, who didn't know I existed, had a hand in helping to shape the person I am today. The world can be a beautiful place sometimes.

RIP Akira Toriyama. Thanks for everything.

[my-chaos-radio]

Release: July 19, 1999

Lyrics:

Did you get what you want?

Do you know what it is?

Do you care?

Is he better than me?

Was it your place or his?

Who was there?

Did you think it was wrong?

Do you find that it's worse than it was?

Has it gone on too long?

Do you mind that it hurts me because

You're breaking my heart?

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

You're breaking my heart

Was it cracking the code, or just filling in time?

Was that all?

So then why'd you go back to the scene of the crime?

Did he call, shall I take further blame or another assault

On how it was?

Then we'll get to the fact that it's always my fault

Just because you're breaking my heart

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

Don't know what you want

Don't know what you want

Oh-oh-oh, oh-oh, oh

Ooh-ooh-ooh-oh, oh

Oh-oh-oh, oh-oh, ooh-ooh

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

You're breaking my heart

Don't know what you want, but I can't give it anymore

Don't know what you want, but I can't give it anymore

Songwriter:

Don't know what you want

Don't know what you want

Neil Tennant / Chris Lowe

SongFacts:

"I Don't Know What You Want but I Can't Give It Any More" is a song by English synth-pop duo Pet Shop Boys from their seventh studio album Nightlife (1999). Released on July 19, 1999 as the album's lead single, it reached number 15 on the UK Singles Chart, number two on the US Hot Dance Club Play Chart and number 66 on the US Hot Singles Sales Chart.

The accompanying music video was directed by Pedro Romhanyl. It shows the duo undergoing a treatment that transforms them into their nightlife costumes before being released into a world where everyone looks like them.

NME's Victoria Segal described the song as "a searing account of infidelity and betrayal, all muted climaxes and sequential depressions… Even if it sounds a little too glossy, as if it should reflect the next Tom Cruise blockbuster, it's still sad." .” and passionate cause. Pop Rescue commented: “This is a really catchy track – musically and vocally, with stirring strings and co-production from legendary producer David Morales. The video is also an amusing piece, with Neil and Chris looking like cloned Rod Stewarts as Jedi walking the dogs.

[cyarsk52-20]

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How God Hates Us All made Slayer great again

In 2001 Slayer re-established themselves as kings of metal with their church-baiting warcry God Hates Us All.

September 10, 2021Words:Ian Winwood

In the summer of 2001, Slayer took to the road in the United States as part of the Extreme Steel tour with Pantera. On a bill that also featured Morbid Angel, Static-X and Skrape, one day Kerry King played the Texan cowboys from hell a number of songs from his group’s as-yet-untitled new album. Responding to a line from the track Disciple, Kerry was told, “Man, God Hates All would look [great on] a shirt.” It would, he agreed, but it would work better still as the title for Slayer’s ninth studio LP. 

“How can you look at the world and think God doesn’t hate us?” wondered the guitarist. Kerry King was once asked to nominate his own superpower and answered that he would like to be able to set churches ablaze simply by walking past them. In Slayer World, this made him the band’s most qualified theologian.

“Wars, disease…” he said. “If we’re so perfect, why are we so fucked?”

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God appeared to agree. God Hates Us All was released on September 11, 2001, mere hours before passenger planes were flown into the World Trade Center and the Pentagon, the most Slayer-esque act of the modern age. Five years later, these atrocities would inspire Jihad, the band’s finest song of the 21st century. They would also throw the world into a state of flux for the next decade and more.

Ahead of the curve, the world of heavy music had been in turmoil for a number of years. The advent of nu-metal in the middle years of the 1990s saw the sound and look of metal change in remarkable and pliant ways. Tunings went down and guitar solos were eschewed. Long hair was no longer de rigueur. Baseball caps and vivid oversized sportswear became the wardrobe of the choice.

In truth, Slayer had endured a difficult decade anyway. Leaving aside the Seasons In The Abyss album, from 1990, the final 10 years of the 20th century had seen the band unveil just two further of albums of original material. Caught in a nu-metal storm, Diabolus In Musica, from 1998, provided a nod to these changing times. The Californian quartet’s most adventurous release – never again would they attempt to write songs as innovative as Stain Of Mind and Wicked – and by far their most intriguing, Slayer’s attempts to park their tank on a new cutting-edge lacked just one thing: an identity.

In this, the group were not alone. Iron Maidenslogged through a swathe of the 1990s with singer Blaze Bayley, a solid presence who lacked the charisma of his predecessor Bruce Dickinson. Even market leaders Metallica spent the second half of the decade attempting to escape the shadow of their 31-million selling Black Album. Between 1996 and 1999, the San Franciscans released four albums, only one of which – S&M – was met with anything approaching universal acclaim. The group did, though, start the 21st century in reassuring style, with the convincing I Disappear, from the 2000 summer blockbuster Mission: Impossible 2.

In the fullness of time, it would take Metallica a further eight years to re-establish their identity with the slightly-too-comfortable Death Magnetic album. Iron Maiden exorcised their recent past with ruthless efficiency by re-recruiting Bruce Dickinson and releasing Brave New World, in 2000, an LP that reassured listeners that normal service had been resumed. But it was Slayer who returned from their brief paddle into uncharted waters with the greatest sense of urgency and violent panache. 

As an album, God Hates Us All reassured its constituents that the band had come home to the thrash-tastic turf that would not exist without them. More than this, over the course of a further three studio albums this stall would budge not an inch in the years that elapsed until the group called it a night in 2019. In his own blunt style, Kerry King explained that, “I want us to be the AC/DC of thrash. I want people to know exactly what they’re going to get when they hear us.”

Which is not to say that the band’s first album of the new century was merely an exercise in nostalgia. Recorded in Vancouver, God Hates Us All was produced by Matt Hyde, whose subsequent credits would include Deftones and Parkway Drive. Accompanying this modern sound were lyrics that eschewed the Satanic and occult themes with which the group had established their identity in years past with songs such as Altar Of Sacrifice, Spill The Blood, and Born Of Fire. In its own quiet way, this too was a nod to metal’s unlikely march toward self-examination. 

“There’s no Satanic or supernatural elements to [the album],” Kerry King explained. “It’s just more about things that people can relate to. All our albums are angry, but this one is really pissed-off because it’s inward looking. I’m usually the Dungeons & Dragons spooky dude. On this record I made a conscious decision not to do that. I wanted to keep our dark themes, but also to write stuff that people can relate to. I tried to think about what pisses me off and why and how people could relate to that, rather than saying, ‘The Devil’s over there fucking your mother’, or something.”

Accompanied by a crisp music video for the song Bloodline – the band’s first since Dittohead, seven years earlier – God Hates Us All is not Slayer’s best album. But it is one of their most assured, and one which cemented their contemporary relevance to a new generation of metalhead. In 1991, the group capped off their first 10 years of active service with a live album titled Decade Of Aggression; yet the ’90s could have been called Decade Of Relative Uncertainty. But after years of laziness – only one track, the supreme Disorder, featuring Ice-T, breached the silence spanning 1990 and 1994 – and excursions such as the thrilling but contextually misguided punk-covers set Undisputed Attitude (1996), once again Slayer were back in a game of their own creation.

On the day that God Hates Us All was released, the Californians planned to fly to Europe to embark on the Tattoo The Planet tour, co-headlined by Pantera. Stranded in Dublin following the fall of the Twin Towers, the Texan group embarked on a row that would break their band apart forever. One week later, Kerry King and co. crossed the Atlantic and topped the bill unaided. In doing so, once more they stood alone as the kings of very, very, very heavy metal. 

Read this next:

The stories behind Slayer's 20 biggest songs

The 25 greatest thrash albums ever

South Of Heaven is the album where Slayer truly became evil

Check out more

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[serve-update]

Jackee Harry Net Worth: She Celebrates Sheryl Lee Ralph Historic Emmys Win!

American actress, comedian, and TV host Jacqueline Yvonne Harry. on August 14, 1956, in Winston-Salem, North Carolina, USA. She rose to fame for her appearances as the lead actress on the ABC/The WB sitcom Sister, Sister and as Sandra Clark, Mary Jenkins's archrival, on the NBC series 227.

Jackee Harry Net Worth

The net worth of American actress and TV personality Jackee Harry is estimated to be $6.5 million. She is best recognized for her portrayals of the attractive next-door neighbor Sandra Clark on 227 and Lisa Landry on Sister, Sister. check this Richard Jefferson's Net Worth. Jackee Harry, an actress, and singer were born on August 14, 1956, in Winston-Salem, North Carolina. She grew up in Harlem, New York, and attended the High School of Performing Arts in the city's Lower East Side for her acting training. https://twitter.com/naijawapaz/status/1140617202615369729 When she started performing on New York's stages, she taught American history at Brooklyn Technical High School. She made her acting debut in 1983's Another World playing the part of "Lily Mason," which she maintained until 1986. In 1985, Harry started co-starring on the NBC sitcom 227 as Sandra Clark, the apartment building whore. Producers at NBC were so impressed by her work in 227 that they wrote a pilot for her called Jackée. Must read this article Fat Joe Net Worth. Despite the popularity of the pilot episode, the series ultimately did not endure, and the pilot is currently aired as the 227th episode. Sister, Sister aired on NBC from 1994 to 1999, and Harry played the role of Lisa Landry, Tia Mowry's adoptive mother. The first African-American to take home the trophy for Best Supporting Actress in a Comedy Series, she made history with her win.

Recently, she has been on television as both "Evelyn Rand" on Girl Meets World and "Pauletta Birdsong" on Byron Allen's syndicated sitcom The First Family. In 2015, she swapped places with Traci Lords on the ABC blockbuster reality show Celebrity Wife Swap.

She Celebrates Sheryl Lee Ralph's Historic Emmys Win.

In a moment where a queen honored a queen, Jackée Harry paid tribute to Sheryl Lee Ralph for hitting the same milestone at the Emmys as she did three and a half decades ago. By playing Sandra Clark on NBC's 227, Harry made history in 1987 by being the first black woman to win the Emmy for Best Supporting Actress in a Comedy Series. Ralph won the same award on Monday night for his portrayal of Barbara Howard on ABC's Abbott Elementary. You might also be interested to read about this article Martin Shkreli Net Worth. After Ralph's big win, Harry wrote, "Winning my Emmy was a career milestone, but it was also a lonely experience." "For the past 35 years, I have held the title of "Outstanding Supporting Actress in a Comedy Series" as the only black woman to do so. Tonight, however, that will all alter. ...and now we're back where we started!" https://twitter.com/JackeeHarry/status/1569487436723687430 Harry then provided a piece of television trivia. "The network originally wanted to play Sandra on 227, but I got the character and won an Emmy for it," she wrote. "Sheryl is the second black woman to hold this position, and it's about time! Well, I'm psyched that she won an Emmy!" Lastly, the Sister, Sister star praised Ralph by noting, "Ralph has "she's one of the sweetest women in Hollywood and she's had a tremendous career. It's been a privilege to see her bring Barbara Howard to life on #AbbottElementary. Welcome to the group and congrats, Sheryl!" Must read about Bill Maher's Net Worth. Ralph bested Kate McKinnon (Saturday Night Live), Alex Borstein (The Marvelous Mrs. Maisel), Hannah Einbinder (Hacks), Janelle James (Abbott Elementary), Sarah Niles (Ted Lasso), Juno Temple (Ted Lasso), and Hannah Waddingham (Ted Lasso) (Ted Lasso). The actress began her address by performing a snippet of Dianne Reeves' "Endangered Species," a song released in 1993. https://youtu.be/Qr5K6jhZQsI Ralph then gave an emotional speech to a standing ovation and applause. I am here to tell everybody who has ever had a dream and thought it wasn't, wouldn't, or couldn't come true, that this is what believing looks like, she added. Check also Utah Jazz Owner Net Worth. "Here is what it means to make an effort: Don't ever give up on yourself, because you have people like Quinta Brunson, my husband, my kids, and my friends who all voted for me, cheered for me, and loved me. We appreciate it. Your help is much appreciated." Read the full article

[thetriphibianmonster]

Godzilla Film Watch:Week 4

Similar to the prior weeks, we'll be ending on the penultimate Millennium entry. I've ultimately decided to include the American takes on Godzilla, and unfortunately that includes the first attempt at a Hollywood adaptation. Credit to Wikizilla for the poster images.

Day 22: Godzilla vs Destoroyah (1995) The swan song for Heisei Godzilla, and for two men who had shaped the franchise from the very start. Tomiyuki Tanaka returns to the icon he had created for one last film, and Akira Ifukube gives us one final, masterful score, expanding on the leitmotifs he had been developing since 1954. I feel like the characters are handled better than the last few films, and I really like their connections to the original leads. Thematically the film is a massive step up from the rest of the Junior saga, though not without its problems. Destoroyah is great as both a concept and a character design, but it is ultimately a simulacrum: an embodiment of a fictional weapon that was itself an allegory for the potential misuses of science. The buildup carries this theme well: Dr. Ijuin's gung-ho approach is a good foil for Dr. Serizawa's remorse. Unfortunately this theme is undercut by Destoroyah's origin, and its lack of connection to the current Micro-Oxygen research: the repentant scientist is the one that creates the problem. Not helping is the proliferation of unneeded Aliens homages in Destoroyah's early scenes: after a brief hiatus the Hollywood references return in full force. Still, Godzilla's struggle against his own failing body and the demon that murdered both his predecessor and adopted son is genuinely moving, and his final scene still brings me close to tears. The first two Heisei films are overall stronger, but I think the final entry wins out on an emotional level.

Day 23: In Name Only (1998) The longest film in the franchise, yet at no point in its 139 minute runtime does any member of the cast or crew take the material seriously. The humor that plagues this film feels like a precursor to modern blockbusters' aversion to sincerity, but as Hollywood had not yet discovered self awareness Emmerich makes do with a combination of slapstick and caricature. Every actor delivers their lines with a set intonation—never changing to reflect context or emotion—which assists neither pathos nor humor. The Hollywood references continue: Emmerich spends a lot of time aping Jaws and Jurassic Park, but there very little actual Godzilla in his pastiche. Here, the King of the Monsters is a frightened animal, surviving the military through his blistering speed, baffling stealth, and their own stupidity. It seems Hollywood would prefer framing the US Armed Forces as incompetent rather than impotent. There are some attempts to empathize with the monster, but they consist mainly of incongruously uplifting leitmotifs and a rehash of King Kong's death scene from the 1976 remake, immediately undercut by a triumphant celebration. The actual narrative evokes fellow 1954 monster movie Them more than it does the original Godzilla, though it lacks their mutual final warning. Instead of stressing the dangers of continued nuclear tests, the final cliffhanger advises nothing, other than more thorough bombing of civilian areas.

Day 24: Godzilla 2000: Millennium (1999) What a breath of fresh air. I love how the intro to this movie introduces its setting, where Godzilla is a reoccurring natural disaster and is treated as such by society. Our main trio is incredibly endearing, while Mitsuo has such a slick, intimidating presence. The tokusatsu is highly ambitious, with many striking composite shots and a great sense of scale. The fight with Orga is refreshingly physical compared to the later Heisei films, though the final battle leaves the exemplary human cast with little to do for a good chunk of the third act. Fortunately, the denouement is driven by Mitsuo's final, defiant rage.

Day 25: Godzilla vs Megaguirus (2000) While Godzilla 2000 dropped us into an intense opening sequence that organically introduced the characters and world, the actual Godzilla film of the year 2000 opts for a lengthy exposition on the history of Godzilla in this new timeline. While the continuous reboots open up a lot of stylistic flexibility within each Millennium film, here the similarity in approach to the prior film makes me feel like it could have been made stronger through shared continuity. There are some decent character beats, but they have the misfortune of following up one of the strongest casts in the series. Outside of that the G-Graspers feel overly toyetic, and the science behind their plan is some of most absurd in the franchise. The tokusatsu remains highly ambitious, but are undercut by some of the most dated digital effects of the Millennium series. Fortunately this is mitigated by the delightfully comedic final fight. Megaguirus uses her speed to channel Road Runner as she repeatedly trolls Wile E. Godzilla, until her arrogance leads to an ironic end.

Day 26: Godzilla, Mothra, and King Ghidorah: Giant Monster's All-Out Attack (2001) Shusuke Kaneko certainly makes an impression with his sole entry in the series. We get another strong cast of characters, a distinctly memorable score by Kow Otani, and some of the best fight choreography in the Millennium series (Godzilla's fight with Baragon is . It also has among the heaviest themes in the whole franchise. GMK remains the only Godzilla film to acknowledge the crimes against humanity committed by the Japanese military during the Pacific War, something Japanese media rarely tackles. That said, I think this subversive element is at odds with the traditionalist criticisms of Japanese youth. Blaming future generations aligned with the conservative interpretation of the 1954 film, with Godzilla punishing Japan for forgetting the sacrifices of its own military, but it clashes with Kaneko's left wing transformation of this framing. The theme also lacks resolution: Godzilla is defeated by a combination of Shinto Traditionalism and the Japanese Maritime Self-Defense Force, though you could argue the final shot of Godzilla's beating heart suggests this conflict will continue until Japan comes to terms with its past misdeeds.

Day 27: Godzilla Against Mechagodzilla (2002) It's nice to return to Showa runtimes for a bit before the series starts breaking 2 hours reliably. Speaking of Showa, I really enjoyed the twist on the Millennium reboot formula: the incorporation of non-Godzilla Showa films into the timeline gives a nice bit of texture to the backstory. While the humanitarian themes of self actualization aren't nearly as radical as the prior film, I feel they are better incorporated into the narrative through the arcs of our two leads, Akane and Kiryu. This is also where I feel the Millennium effects crew really perfected their particular spin on Tokusatsu. The choreography is once again excellent, the digital effects are better integrated, and the classic atomic breath reaches its final form here. I also enjoyed the twist on the "robot goes berserk" narrative. Rather than the rampaging Mechagodzilla becoming the true villain as in the Monsterverse, they recover him and continue to work on him until he saves Japan from the new Godzilla.

Day 28: Godzilla: Chipwrecked (2003) What a difference a change in writers can make. While the theme that humans should not tamper with nature is one of the oldest in the series, applying it to Kiryu here feels counter the prior film's message that everyone has a right to life, regardless of origin. His reluctance to fight his kin is well established, but there should be options between life as a weapon and freedom in death. Despite the return of continuity, the film still ushers out the prior cast at the beginning. While the new characters aren't bad, they're a lackluster replacement for Akane and the others, though I do like the return of legacy character Shinichi Chujo. Mothra here is the best she's ever looked, and the film retains the strong effects work from the prior entry, despite the change in effects directors. Unfortunately, the early beginning of the main battle causes the pacing to lapse towards the conclusion, particularly when Kiryu is out of commission.

[musicverse11]

KK’s Timeless Hits: Songs That Touched Millions

Krishnakumar Kunnath, affectionately known as KK, was more than just a playback singer — he was a sensation who captured the soul of Indian music lovers. Rising from humble beginnings, KK’s journey to becoming a beloved figure in Bollywood is nothing short of inspiring. Known for his versatile voice, KK seamlessly blended emotions and melodies, earning a special place in the hearts of millions. His story is a testament to passion, hard work, and an undying love for music.

Early Life and Foundation

KK was born on August 23, 1968, in Delhi, to a middle-class Malayali family. Growing up, his passion for music was evident. From school programs to small gatherings, KK’s voice stood out as extraordinary. He attended Mount St. Mary’s School and later graduated from Delhi University’s Kirori Mal College.

Before Bollywood beckoned, KK honed his skills in the advertising world, singing over 3,500 jingles in 11 languages. This phase was crucial, as it helped him explore his vocal range and gain confidence in his abilities. Despite being an untrained singer, KK’s natural talent and ability to convey emotions through his voice set him apart.

Bollywood Breakthrough

KK’s breakthrough in Bollywood came in 1999 with the soulful track “Tadap Tadap Ke” from Hum Dil De Chuke Sanam. Composed by Ismail Darbar and penned by Mehboob, the song showcased KK’s ability to evoke profound emotions. His raw, heartfelt rendition struck a chord with audiences, propelling him to instant stardom. The track remains one of Bollywood’s most iconic heartbreak anthems to this day.

Following this success, KK became the voice behind numerous blockbuster songs, delivering hits like “Tu Hi Meri Shab Hai” (Gangster), “Aankhon Mein Teri” (Om Shanti Om), and “Kya Mujhe Pyaar Hai” (Woh Lamhe…). His songs not only resonated with audiences but also became integral to the storytelling in Indian cinema.

Defining Characteristics: Why KK Stood Out

KK’s unique ability to adapt his voice to different moods and genres made him a standout in the industry. Whether it was the romantic ballad “Khuda Jaane” (Bachna Ae Haseeno), the energetic “It’s the Time to Disco” (Kal Ho Naa Ho), or the introspective “Alvida” (Life in a… Metro), KK infused his distinct touch into every track.

Unlike many of his contemporaries, KK avoided the limelight. He rarely appeared in public, preferring to let his music speak for itself. This humility and focus on his craft endeared him to fans and colleagues alike. His songs, often filled with raw emotion, connected deeply with listeners, creating a timeless appeal.

Milestones and Achievements

KK’s contribution to Indian music extended beyond Bollywood. In 1999, he released his debut solo album “Pal,” which became an instant classic. Tracks like “Yaaron” and “Pal” resonated with the youth and became staples at farewells, reunions, and celebrations. The album cemented KK’s position as a pop icon and showcased his versatility beyond film music.

Over the years, KK sang in multiple languages, including Tamil, Telugu, Kannada, Malayalam, and Bengali. His Tamil song “Appadi Podu” became a nationwide phenomenon, showcasing his ability to transcend linguistic barriers. Despite the challenges of working across different musical traditions, KK’s adaptability and dedication allowed him to excel in every genre he explored.

Impact on Bollywood Playback Singing

KK’s entry into Bollywood brought a fresh wave of emotional depth and authenticity to playback singing. His voice became synonymous with sincerity and passion, a perfect fit for narratives centered on love, loss, and longing. Unlike many singers who leaned heavily on classical training, KK’s self-taught approach brought a contemporary, relatable quality to his music.

Many of today’s young artists cite KK as an influence, praising his ability to convey emotion effortlessly. His songs continue to inspire aspiring musicians, proving that true artistry lies in connecting with the audience on a human level.

A Legacy of Humility and Talent

Throughout his career, KK remained grounded and focused solely on his music. He avoided the trappings of fame, shying away from controversies and maintaining a low profile. His commitment to his craft was unwavering, and he often spoke about how he viewed music as a way to touch lives.

This humility extended to his interactions with fans and colleagues. KK’s dedication to music was matched by his kindness and professionalism, making him a beloved figure both on and off stage.

Conclusion: An Enduring Icon

KK journey from a jingle singer to a Bollywood sensation is a story of perseverance and passion. His songs, filled with emotion and melody, continue to inspire and uplift listeners. Despite his untimely demise, KK’s legacy endures through his timeless music. His voice remains a cherished part of countless memories, a testament to the power of art to transcend time and space.

Which KK song has left an indelible mark on your life? Share your favorite track or memory in the comments below. Let’s celebrate the incredible legacy of a voice that defined an era.

To explore more about KK’s extraordinary journey and discover his top songs, visit the blog for a curated list of his best tracks and hidden gems. Let’s honor the timeless magic of KK’s music together!

[desicinema20]

"The Magic of Music in Desi Cinema: How Songs Define the Soul of Indian Films"

Introduction: No other film industry in the world celebrates music as much as Desi Cinema. Whether it's the grand, orchestrated musical numbers of Bollywood or the soulful ballads in regional films, music is the heartbeat of Indian cinema. In this post, we'll take a deep dive into how music has shaped and defined desicinema, from its early beginnings to modern-day hits.

The Role of Music in the Golden Age:

The 1950s and 1960s were a defining period for Indian film music. Music directors like S.D. Burman, Shankar Jaikishan, and Naushad composed melodies that became immortal. Songs from films like Mughal-e-Azam (1960), Awaara (1951), and Pyaasa (1957) didn’t just complement the narrative but enhanced the emotional depth of the story.

The early Bollywood musicals were often built around the songs themselves. Bollywood songs became a language in their own right, often conveying emotions too complex to be expressed through dialogue. Lata Mangeshkar and Kishore Kumar, the voices of the era, gave life to these songs, making them iconic.

The '70s and '80s: The Rise of Disco & Playback Singing:

The 1970s and 1980s saw an interesting shift in Bollywood’s musical landscape. Disco music entered the scene with tracks like I’m Your Baby Tonight from The Burning Train (1980) and Disco Dancer (1982), marking a more international sound. Meanwhile, playback singers like Kishore Kumar, Mohammad Rafi, and Asha Bhosle dominated the scene, creating songs that were as iconic as the films themselves.

In the 1980s, films like Sholay (1975), Amar Akbar Anthony (1977), and Qurbani (1980) brought forward energetic numbers that resonated with the masses, giving Bollywood a new sound. But it wasn’t just the music; the choreography, the costumes, and the setting also came to define the genre. The popularity of the "item number" emerged around this time, a tradition that continues to define Bollywood today.

The '90s: The Era of Romance and Soundtracks:

The 1990s were marked by an explosion of musical blockbusters. The classic pairing of melodious love songs with visual grandeur became a hallmark of Bollywood during this period. Composers like Jatin-Lalit, Nadeem-Shravan, and A.R. Rahman introduced a range of sounds, from the soulful romantic ballads of Dilwale Dulhania Le Jayenge (1995) to the more contemporary pop-infused melodies of Dil Se (1998).

A.R. Rahman, in particular, revolutionized the industry with his fusion of Western and Indian music, creating scores that broke conventional barriers. His iconic work in Roja (1992) and Taal (1999) not only changed the music industry but also brought a new era of musical experimentation in Indian films.

Modern Day: The Fusion of Genres and Global Influence:

Today, Desi Cinema is characterized by a mix of traditional music with international styles. Composers like Pritam, Amit Trivedi, and A.R. Rahman continue to dominate the soundscape, but the influence of global genres like hip-hop, rap, electronic dance music (EDM), and even reggaeton can be felt in contemporary tracks. Bollywood soundtracks now embrace a wider range of genres, reflecting the evolving tastes of global audiences.

The rise of digital music platforms like Spotify and YouTube has made desicinemas film music more accessible than ever before, allowing audiences to discover and enjoy songs from all over India. In the past decade, regional cinema has seen a rise in musical experimentation as well, with composers like Ilaiyaraaja (Tamil).

Conclusion:

Music is the lifeblood of Desi Cinema. It’s what makes us laugh, cry, and dream alongside our favorite characters. From the majestic orchestral compositions of the 50s to the pulsating beats of today, the role of music in Indian cinema cannot be overstated. In Desi films, music is not just a background element—it’s an essential part of the narrative, blending seamlessly with the story to create an experience that is distinctly Indian, yet universally relatable. Whether you're humming a tune from a Bollywood blockbuster or tapping your feet to a Tamil chartbuster, music continues to be the soul of Indian cinema.

[cinemapremi]

Manoj Bajpayee Top Movies

Manoj Bajpayee, an Indian actor, has made a big impact in movies. He was born on April 23, 1969, in Bihar, India. He struggled at first in Bollywood, but then he got famous for his role in the movie "Satya" in 1998. Bajpayee is known for playing all kinds of roles, from big blockbuster movies to smaller, independent films. One of his best-known roles was in "Gangs of Wasseypur" in 2012. People loved his performance as Sardar Khan in that movie. He has worked with many famous directors and acted in movies like "Omkara" and "Special 26." Bajpayee also started acting in web series, like "The Family Man," which people really enjoy. Not only does Bajpayee act, but he also produces movies. One of his produced films is "Missing," which came out in 2018. Bajpayee's acting is admired by many because he can play so many different kinds of characters. He works hard and takes his roles seriously, which is why he's one of the best actors in India. Manoj Bajpayee Top Movies: Must Watch Movies List! "Satya" (1998) Release Year: 1998 IMDb Rating: 8.2 Description: A gritty crime drama directed by Ram Gopal Varma, portraying the menacing gangster Bhiku Mhatre, played brilliantly by Manoj Bajpayee. Star Cast: Manoj Bajpayee, Urmila Matondkar, Shefali Shah Director: Ram Gopal Varma Awards: National Film Award for Best Supporting Actor Fun Fact: The iconic dialogue "Mumbai ka king kaun? Bhiku Mhatre!" became legendary. Some unknown facts about Satya Movie Actor Danny Boyle watched "Satya" to understand the Mumbai underworld before making his Oscar-winning film "Slumdog Millionaire." The film initially planned to have no songs, but eventually added music by Gulzar and Vishal Bhardwaj. "Satya" was a hit at the box office, earning 15 crores in India and 19 crores worldwide. The character Bhiku Mhatre was based on a real Mumbai gangster named Bhiku Mhatre. Manoj Bajpayee's acting as Bhiku was really good. Many actors in the movie were new or not well-known before. The director chose actors who looked like the characters they played, making the movie feel real. "Satya" didn't follow the usual Bollywood style. It told the story in a different way, showing more realistic violence and events. The movie won a lot of awards, including six Filmfare Awards. People really liked it and it changed how Hindi movies were made. Because "Satya" was so popular, two sequels were made. They were called "Company" and "D." The movie also inspired other filmmakers to make movies about real-life crime stories. "Shool" (1999) Release Year: 1999 IMDb Rating: 7.7 Description: Manoj Bajpayee plays a righteous police officer fighting corruption in a small town in this hard-hitting drama. Star Cast: Manoj Bajpayee, Raveena Tandon, Sayaji Shinde Director: Eeshwar Nivas Awards: Filmfare Critics Award for Best Actor Fun Fact: Bajpayee's intense performance garnered critical acclaim. Some unknown facts about Shool Movie The film had a moderate budget of 5 crores but earned a decent 2 crores on its first day, indicating a good opening at the box office. The song "Main Aayi Hoon UP Bihar Lootne" became a chartbuster and gained immense popularity, contributing to the film's success. Shool received critical acclaim and was honored with the National Award for Best Feature Film in Hindi, highlighting its quality and impact. The casting change of Raveena Tandon replacing Nandita Das showcases the dynamic nature of the film industry and the decision-making process in choosing actors. The presence of actors like Rajpal Yadav and Nawazuddin Siddiqui in small roles indicates their early struggles in the industry before gaining recognition. The storyline of "Shool" was inspired by real-life events and incidents of corruption and police brutality in the Indian state of Bihar. The film's narrative drew heavily from the socio-political landscape of Bihar during the late 1990s. "Gangs of Wasseypur - Part 1" (2012) Release Year: 2012 IMDb Rating: 8.2 Description: An epic crime saga directed by Anurag Kashyap, where Bajpayee portrays Sardar Khan, a vengeful gangster in the coal mafia of Wasseypur. Star Cast: Manoj Bajpayee, Richa Chadha, Nawazuddin Siddiqui Director: Anurag Kashyap Fun Fact: Manoj Bajpayee's character, Sardar Khan, is one of his most memorable roles. Some unknown facts about Gangs of Wasseypur movie The film's storyline is loosely based on the coal mafia of Dhanbad, Jharkhand, and the conflicts between rival families that spanned several decades. The shooting for "Gangs of Wasseypur - Part 1" lasted for over 90 days, with many scenes filmed on location in Wasseypur, Bihar, and other parts of Jharkhand. Director Anurag Kashyap adopted a non-linear narrative style for the film, weaving together multiple storylines and characters across different timelines, which added depth and complexity to the storytelling. The film boasts an ensemble cast featuring over 300 characters, each with their own unique background and storyline, contributing to the rich tapestry of the narrative. The dialogues in the film were written in a mix of Hindi, Bhojpuri, and Urdu, reflecting the linguistic diversity of the region and adding authenticity to the characters and setting. "Gangs of Wasseypur - Part 1" premiered at the 65th Cannes Film Festival in 2012, where it received a standing ovation from the audience, marking a significant milestone for Indian cinema on the global stage. The film's gritty portrayal of violence, politics, and revenge garnered widespread acclaim from critics and audiences alike, sparking discussions about the state of organized crime and governance in India. It has since attained cult status among cinephiles worldwide. "Aligarh" (2015) Release Year: 2015 IMDb Rating: 7.7 Description: In Aligarh, Bajpayee portrays the real-life character of Dr. Shrinivas Ramchandra Siras, a homosexual professor fighting for his rights. Star Cast: Manoj Bajpayee, Rajkummar Rao Director: Hansal Mehta Awards: National Film Award for Best Actor Fun Fact: The film sensitively addresses issues of discrimination and privacy. Some unknown facts about Aligarh movie "Aligarh" (2016) is based on the life of Dr. Shrinivas Ramchandra Siras, a professor at Aligarh Muslim University who faced discrimination due to his homosexuality. The film sensitively addresses the taboo subject of homosexuality in Indian society and received critical acclaim for its portrayal of Dr. Siras' plight and broader themes of discrimination and privacy rights. Manoj Bajpayee's portrayal of Dr. Siras and Rajkummar Rao's performance as a journalist investigating his case were praised by critics and audiences alike. "Aligarh" faced controversy upon its release from conservative groups objecting to its portrayal of homosexuality. However, it earned support from the LGBTQ+ community and advocacy groups for its sensitive handling of the subject. During filming, the cast and crew faced challenges in shooting certain scenes due to the sensitive nature of the subject matter but worked together with professionalism to authentically bring Dr. Siras' story to the screen. The film played a significant role in raising awareness about LGBTQ+ rights in India and sparking conversations about acceptance and inclusivity in society, leaving a lasting impact on viewers and Indian cinema. "Pinjar" (2003) Release Year: 2003 IMDb Rating: 8.1 Description: In this emotional drama, Bajpayee plays Rashid, a man caught in the turmoil of the India-Pakistan partition. Star Cast: Manoj Bajpayee, Urmila Matondkar, Sanjay Suri Director: Chandraprakash Dwivedi Fun Fact: Bajpayee's poignant performance adds depth to this heart-wrenching tale. Some unknown facts about Pinjar movie "Pinjar" (2003) is based on Amrita Pritam's novel and tells the story of Puro, a Hindu girl abducted by a Muslim man during the Partition of India in 1947. The film was shot on location in Punjab, India, to capture the authenticity of the Partition era, with meticulous attention to period settings and details. Stellar performances by Urmila Matondkar, Manoj Bajpayee, and Sanjay Suri earned critical acclaim, particularly Urmila's portrayal of Puro. "Pinjar" addresses the sensitive subject of Partition-related atrocities and the plight of abducted women, sparking controversy among some groups for its portrayal of Muslims. The film's soundtrack, composed by Uttam Singh, features soulful melodies like "Chand Si Mehbooba" and "Ya Rabba" that resonated with audiences. "Raajneeti" (2010) Release Year: 2010 IMDb Rating: 7.1 Description: Raajneeti is a political drama where Bajpayee plays a crucial role in a story of power, manipulation, and betrayal. Star Cast: Manoj Bajpayee, Ajay Devgn, Ranbir Kapoor, Katrina Kaif Director: Prakash Jha Fun Fact: The film's complex narrative showcases Bajpayee's versatility as an actor. Some unknown facts about Raajneeti movie "Raajneeti" (2010) draws heavily from the Indian epic, the Mahabharata, and is loosely inspired by the political landscape of Bihar. The film faced controversies over its portrayal of Sonia Gandhi by Katrina Kaif. "Raajneeti" features an ensemble cast including Ranbir Kapoor, Katrina Kaif, Ajay Devgn, Arjun Rampal, and Nana Patekar, among others. Behind-the-scenes, there were reports of tensions, particularly between lead actors Ranbir Kapoor and Katrina Kaif. This tension was also seen during movie promotions. Despite controversies and drama, "Raajneeti" was a commercial success, praised for its gripping storyline and stellar performances. The film remains significant in Indian cinema, known for its exploration of political themes and memorable characters. "Bhonsle" (2018) Release Year: 2018 IMDb Rating: 7.2 Description: In Bhonsle, Bajpayee plays a retired police officer who forms an unlikely friendship with a migrant girl, reflecting on themes of isolation and belonging. Star Cast: Manoj Bajpayee, Santosh Juvekar Director: Devashish Makhija Fun Fact: This indie gem received critical acclaim for its thought-provoking narrative. Some unknown facts about Bhonsle movie "Bhonsle" (2018) is a Hindi film portraying an old Mumbai police officer named Bhonsle. The movie received critical acclaim, especially for Manoj Bajpayee's portrayal of Bhonsle. It had a limited release, initially showcased at film festivals and later in select theaters in India. Set in the Mumbai slums, the film provides a realistic depiction of everyday struggles. Manoj Bajpayee's dedication to the role involved extensive preparation and immersion into the character. Despite its limited release, "Bhonsle" left a lasting impact with its powerful storytelling and performances. "Special 26" (2013) Release Year: 2013 IMDb Rating: 8.0 Description: Bajpayee plays a CBI officer in this heist thriller where a group of con artists poses as government officials to conduct raids. Star Cast: Manoj Bajpayee, Akshay Kumar, Anupam Kher Director: Neeraj Pandey Fun Fact: The film is inspired by real-life heists in India. Some unknown facts about Special 26 movie "Special 26" (2013) is a Hindi film based on real-life heists conducted by a group of con artists in the 1980s. The film stars Akshay Kumar, Anupam Kher, Manoj Bajpayee, and Jimmy Sheirgill in lead roles, with their performances receiving widespread acclaim. Set in the 1980s, the film captures the essence of the era with authentic costumes, props, and set designs. "Aks" (2001) Release Year: 2001 IMDb Rating: 6.1 Description: Aks is a supernatural thriller where Bajpayee's character battles his own evil doppelganger. Star Cast: Manoj Bajpayee, Amitabh Bachchan, Raveena Tandon Director: Rakeysh Omprakash Mehra Fun Fact: Bajpayee's portrayal of the dual role was praised for its intensity. Some unknown facts about Aks movie The film received critical acclaim for the performances of lead actors Amitabh Bachchan and Manoj Bajpayee. Known for its suspenseful plot, "Aks" keeps the audience engaged with its mysterious storyline. Upon release, "Aks" received mixed reviews from critics, with some praising its innovative storytelling while others had reservations about certain plot aspects. Despite initial mixed reviews, "Aks" has gained a cult following for its unique storyline and standout performances. "Bandit Queen" (1994) Release Year: 1994 IMDb Rating: 7.6 Description: In this biographical drama, Bajpayee plays the role of Man Singh, a supporting character in the life of the infamous Phoolan Devi. Star Cast: Seema Biswas, Manoj Bajpayee Director: Shekhar Kapur Awards: National Film Award for Best Feature Film Fun Fact: Bandit Queen was Bajpayee's breakthrough film, and his performance was a sign of things to come. Some unknown facts about Bandit Queen movie "Bandit Queen" (1994) is a biographical film based on the life of Phoolan Devi, a notorious Indian outlaw turned politician. The film stirred controversy upon release due to its explicit portrayal of violence, sexual abuse, and exploitation faced by Phoolan Devi. Despite the controversies, "Bandit Queen" received critical acclaim for its raw and powerful storytelling and Seema Biswas's exceptional performance in the lead role. Phoolan Devi herself was involved in the making of the film, providing insights into her life and experiences to add authenticity to the portrayal. The production of "Bandit Queen" faced numerous challenges, including financial constraints and legal issues, but director Shekhar Kapur's determination helped overcome these obstacles. The film left a lasting impact on Indian cinema and is considered a landmark for its bold portrayal of a complex and controversial figure in Indian history. Manoj Bajpayee's cinematic journey is a testament to his incredible talent and dedication. These ten films represent just a fraction of his illustrious career, leaving us eager to see what he has in store for the future of Indian cinema. Read the full article

[anantradingpvtltd]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] One of the great thinkers of Indian cinema, Javed Akhtar needs no introduction. As a screenplay writer, he and Salim Khan wrote the dialogue for blockbusters like Zanjeer, Deewar, and Sholay; as a songwriter, he has composed a huge variety of songs including, ‘Yeh kahaan aa gaye hum’, ‘Kuchh na kaho’, and ‘Kal ha na ho’. Talking Films and Songs showcases both these aspects of Javed Akhtar’s versatile genius, through freewheeling conversations with Nasreen Munni Kabir. Originally published in 1999 (Talking Films) and 2005 (Talking Songs), these extremely popular books have delighted readers, researchers, and scholars of Indian film. Full of wit and wisdom, this edition is a must-read for Hindi cinema enthusiasts. ASIN ‏ : ‎ B079VH497P Publisher ‏ : ‎ OUP India (16 February 2018) Language ‏ : ‎ English File size ‏ : ‎ 4278 KB Text-to-Speech ‏ : ‎ Enabled Screen Reader ‏ : ‎ Supported Enhanced typesetting ‏ : ‎ Enabled X-Ray ‏ : ‎ Not Enabled Word Wise ‏ : ‎ Not Enabled Print length ‏ : ‎ 200 pages [ad_2]

[jennyboom21]

Taylor Swift has reached an agreement with two songwriters to end a five-year long copyright lawsuit claiming she stole the lyrics to “Shake It Off” from an earlier song about “playas” and “haters,” resolving one of the music industry’s biggest legal battles without a climactic trial or ruling.

In a joint filing made on Monday in California federal court, attorneys for both Swift and her accusers – songwriters Sean Hall and Nathan Butler – asked a judge for an order “dismissing this action in its entirety.” Before the deal, a trial had been scheduled to kick off in January.

The public filings did not include any specific terms of the apparent settlement, like whether any money exchanged or songwriting credits would be changed. Attorneys for both sides and a rep for Swift did not immediately return requests for comment.

The agreement means a sudden end for a blockbuster case that seemed headed toward the next landmark ruling on music copyrights. Following legal battles over Robin Thicke’s “Blurred Lines” and Led Zeppelin’s “Stairway to Heaven,” the case against Swift posed fundamental questions about the limits of copyright protection, with her lawyers arguing that the accusers were trying to “cheat the public domain” by monopolizing basic lyrical phrases.

Hall and Butler first sued way back in 2017, claiming Swift stole her lyrics to “Shake It Off” from their “Playas Gon’ Play,” a song released by R&B group 3LW in 2001. That was no small accusation, given the song in question: “Shake It Off” debuted at No. 1 on the Billboard Hot 100 in September 2014 and ultimately spent 50 weeks on the chart, a mega-hit even for one of music’s biggest stars.

In Hall and Butler’s song, the line was “playas, they gonna play, and haters, they gonna hate”; in Swift’s track, she sings, “‘Cause the players gonna play, play, play, play, play and the haters gonna hate, hate, hate, hate, hate.” In their complaint, the duo said Swift’s lyric was clearly copied from their song.

In the years since, Swift’s attorneys repeatedly pushed to dismiss the case, arguing that a short snippet of lyrics about “players” and “haters” was not creative or unique enough to be covered by copyrights. They cited more than a dozen earlier songs that had used similar phrases, including 1997’s “Playa Hater” by Notorious B.I.G and 1999’s “Don’t Hate the Player” by Ice-T.

Swift initially won a decision in 2018 dismissing the case on those grounds, with a federal judge ruling that Hall and Butler’s lyrics were not protected because popular culture in 2001 had had been “heavily steeped in the concepts of players, haters, and player haters.” But an appeals court later overruled that decision, and a judge ruled last year that the case would need to be decided by a jury trial.

“Even though there are some noticeable differences between the works, there are also significant similarities in word usage and sequence/structure,” the judge wrote at the time.

More recently, Swift’s team again asked the judge to dismiss the case, this time making a new argument: That documents turned over during the case had revealed that Hall and Butler voluntarily signed away their right to file the lawsuit in the first place.

In an August filing, Swift’s lawyers said the documents proved that Hall and Butler had granted their music publishers the exclusive rights to bring an infringement lawsuit over the song, meaning they lacked the legal standing to do so. Her lawyers said the pair had even emailed their publishers – Sony Music Publishing and Universal Music Publishing Group, respectively – asking for permission to sue, but that both companies had refused the request.

“After their music publishers refused to assign to plaintiffs the claim they assert in this action, their manager unsuccessfully lobbied a United States Congressman to get a House sub-committee to intervene,” Swift’s lawyers alleged in the filing.

[britesparc]

Weekend Top Ten #554

Top Ten Movie Trailers

I love movie trailers. They’re so cool. Talking about music videos being short films, here you have a short-form video that has to not only condense the themes and – maybe – plot of a longer film into two and a half minutes, but it also has to be entertaining in its own right. As someone who’s spent about fifteen years making TV promos, a well-cut movie trailer feels like a piece of high art; something to aspire to.

Nowadays there’s a template to these sorts of things, especially for big budget blockbusters. Moody opening shots, often of a location; smatterings of enigmatic dialogue; tension music; leading to fast cuts, action scenes, thrilling music, before coming back down with either a big effects money shot or a funny one-liner. Even within this format you get some great trailers – Marvel in particular has a strong trailer game – but I prefer the ones that think outside the box. Trailers that use their short runtime to tell a story in some way, to evoke emotions. Sometimes this is via bespoke footage made just for the trailer – we’ve got a couple of these in the list – and sometimes it’s using the film itself.

Music, too, plays a huge role in a good trailer. There are a couple of examples here, too, where the track is just really well-cut, with visuals to match; it almost turns the trailer into something approaching a music video. Sometimes these songs are really well chosen, matching the visuals with the lyrics so expertly as to make you think they could almost be written for this film. Which, interestingly enough, brings us to another point: great trailers for crap films.

Maybe that’s a bit harsh, but there are trailers here for films which I must say I don’t love. Interestingly enough, I feel like Zack Snyder films make terrific trailers, even if I’m often not too enamoured with the final product when it hits cinemas. But that’s not really the point: we’re not judging the films here, literally all I’m talking about is the trailers themselves. How cool they are, how exciting, how they make me feel – and, yes, whether or not they make the film they’re supposed to be advertising look good or not. Because in a way, a terrific trailer for a terrible film is almost the highest form of compliment: a trailer so good it assembles sub-par material in such a way as to make it seem really, really cool. And hopefully we can all agree that these ten trailers are really, really cool.

Star Wars Episode I: The Phantom Menace (1999): watching it back now it’s like a museum piece. An almost-archaic use of footage, dialogue, and music – with Star Wars dissolves and wipes, in the promo – but as a tool for building excitement, nothing could be greater. This was a return to a beloved galaxy, and whilst nowadays we’re totally disillusioned by everything far, far away, back then it was hugely anticipated. Seeing stuff we’d just never seen – CGI cities, impossible aliens, elaborate lightsaber fights – was gobsmacking. People can criticise the film all they want, but as an artfully-constructed promo, with its expertly chosen shots and sounds, the trailer is a masterpiece.

Cloverfield (2008): I had my issues with the final film of Cloverfield, but maybe they were all because no film could ever really live up to this incredible first impression. Unlike Phantom, which was eagerly anticipated to the point of mania, this just emerged out of nowhere: an enigmatic title, an unknown film, starring and directed by unknowns, but with uber-producer JJ Abrams somehow attached. And in its brief runtime it perfectly sketches a scene, home video footage of a party segueing into unease, tension, fear and then terror. Coming so soon after 9/11 the grainy imagery of explosions in New York carried greater resonance, and only as the atmosphere amps up do we realise something unearthly or supernatural is going on. And as money shots go, the head of the Statue of Liberty being flung down a street is right up there.

Terminator 2: Judgement Day (1991): in the annals of “specially-shot promo footage” this has to rank as the greatest of all. A series of industrial close-ups show the construction of an actual Terminator, something that filled baby nerds like myself with all kinds of lore-building delight. The use of sound design, lighting, and – of course – the fantastic Terminator theme helps build both tension and excitement, until we’re finally face to face with a naked Arnold. Funnily enough, I think the first time I saw this was as a chunky lo-res intro to the Terminator 2 videogame on the Amiga.

Watchmen (2009): another film where I much prefer the trailer to the finished product – weirdly, a very common phenomenon when discussing the films of Zack Snyder! The use of slow motion and frame ramping in the trailer gives the action a sense of gravitas, suitable for such a revered text. But really it’s the music that sells this, the excellent Smashing Pumpkins song The Beginning is the End is the Beginning matching brilliantly – if a bit on-the-nose-dly – with the visuals.

Jurassic Park (1993): here we get to one which, I think, is perhaps a bit less iconic, but had a profound effect on me when I saw it in the cinema in – I guess – 1992. Over shots of a mosquito in amber, a serious voiceover explains in dry tones how dinosaur blood was found in the frozen insects, and scientists have used that to clone dinosaurs. When I first saw this, for the longest time I thought it was true; some kind of documentary or news report or something. Only as it progressed did my innate (even then) knowledge of how promos and movies worked did I begin to suspect this was a film they were talking about; and, of course, it ends with “next summer Steven Spielberg will take you there”. Well, I was already a huge Spielberg fan even back then, so this was just incredible. A subtle, enigmatic, and quietly creepy trailer that totally whetted at least one kid’s appetite thirty years ago.

Spider-Man (2002): although feeling like another bespoke specially-shot featurette, this was footage that was meant to be part of the movie, in the montage of Spidey’s actions. It has gained notoriety in the years since, as it was briefly released to the internet before being banned – for reasons that shall become clear. Because the trailer – which is an excellently-shot bank heist, evoking classics such as Heat, and doesn’t tip its hat at all to the superheroic nature of its target – ends with a helicopter caught in a spider’s web spun between the twin towers of the World Trade Center. This was an excellent trailer, really showing us something that no superhero film had done, and also just damned exciting.

The Girl with the Dragon Tattoo (2011): in the annals of trailers-basically-just-cut-to-an-existing-music-track, this must be one of the best. The use of Immigrant Song might be a bit first-base for a film set in Scandinavia but the beat is perfect for the staccato cuts of a trailer like this, and the haunting visuals perfectly set up a dark noir story: snowy lanes winding into the distance, disparate scenes of violence, enigmatic faces, wide expanses of landscape… the sense of threat is all-encompassing, yet there’s also an undercurrent of, I dunno, excitement or even humour somehow, because, well, Immigrant Song is a banger. Anyway, it’s great.

Die Hard with a Vengeance (1995): another one where I think maybe I remember this trailer a lot more than anyone else, it really had an impact on me back in the day. I think the first time I saw it was on a VHS full of movie trailers that came with a special issue of Empire magazine – just in case you didn’t know how old I was. But it utilises the film’s rather shocking opening – a bomb suddenly going off in New York – and then reprises Ode to Joy, echoing the first film, a series of rapid action beats cut to the music. It was just so much damn fun and really exciting.

Independence Day (1996): so perfectly calibrated that it could be a case study for how to ramp up expectation. ID4 was going to be an event, and this trailer cemented it; people went wild. Sure, we get the money shot of the White House exploding and a super-cool badass Will Smith kiss-off line, but the slow-burn ratcheting of the tension – the signal detected, the people gathering, the worried politicians, the shadows stretching over cities – plays like the first half of the film in microcosm. Indeed, you could argue that this trailer distils the very best of the finished film into under three minutes; perhaps it’s even the perfect version of the film. Although you don’t get Brent Spiner.

The Lord of the Rings: The Return of the King (2003): there can be no victory without loss. There’s a particular type of trailer – the Saga’s End, let’s call it – that really breaks out all the stops, and whilst ROTK may have more-or-less pioneered the form (pre-dating Revenge of the Sith and Deathly Hallows), it’s still the master. Slow dissolves, dialogue snippets like “we come to it at last” and “the pieces are in place”, shots ramping up a sense of finality, of danger, of sacrifice. Someone’s crying, someone’s screaming, someone’s giving a heartfelt speech; there’s the promise of spectacle on a scale hitherto unseen in the series, of an event so great there’s no going back. Gondor’s in flames. Legolas scales a Mûmakil. There’s a bloody great spider. I think what really sells this is that this sense of our heroes undergoing great loss in the pursuit of victory is actually an overriding thread in Tolkien’s work; that some wounds never heal, that evil like this cannot be entirely unmade. We know that not quite everyone will emerge the other end, and those that do will be changed. A trailer like this should promise melancholy, and this succeeds and then some.

Would have been nice, at some point in my career, to make an actual proper trailer for an actual proper movie. Ah well. I’ll always have that Pokémon promo I made for CITV using Duel of the Fates as a backing track.

[astoldbyteller]

Damn. Everyone was not lying when they said Clarissa just has random sticky notes posted up everywhere! I find it to be an absolute travesty that my sister has been hiding this handy dandy blog from me. To introduce myself, we’re gonna play a little game. It’s like... 1999 again, is it not? So we’re gonna kick things off with a fun 90′s themed ask meme! You know the drill. Reblog if you wanna participate, and send all participating Cherriots fun little emoticons! Marissa 2.0 out!

✧ — ⋆    asking q’s like it’s 1999 !

🎧: what song have you been playing on your walk man recently? 

💋: who do you think is like, a total hottie on the silver screen? 

😱: oh no! you’re in a slasher film! what trope are you?

🧣: worst clothing trend of the 90s?

👖: what’s your go-to outfit?

🛒: crystal pepsi. do you miss it? 

💄: oh no! you made it out of the slasher film, but now you’re in a teen rom-com! what trope are you? 

💍: what color is your mood ring? 

👾: be honest… how’s your tamigatchi doing?

🤨: were ross and rachel really on a break?

🌶: spice up your life! which spice girl are you?

 🎞: go to movie at blockbuster? bonus points if you tell me your go to candy too!

[salmankhanholics]

★ Devapriya Sanyal’s Salman Khan The Man The Actor The Legend review: Decoding Salman Khan

July 2022 

Steering clear of the actor's controversial life, a new biography focuses on India’s notion of stardom and celebrity instead

A recent bout of illness and feeling all round wretched had me turning to my favourite comfort food — Hindi movies (I refuse to call them Bollywood movies) from the 1990s. That I was simultaneously reading Devapriya Sanyal’s Salman Khan The Man The Actor The Legend, a deconstruction of bhai’s celebrity, proved an adequate road map to my film choices...

Rather than start with Salman Khan’s big, fat blockbuster, Maine Pyaar Kiya(1989), I chose Hum Aapke Hain Koun..!(1994), also directed by Sooraj Barjatya (who had made his directorial debut with Maine Pyaar Kiya). The film, which cemented Khan as a bonafide star, actually gave his co-star, Madhuri Dixit, higher billing, a fact which Sanyal’s book

Hum Aapke Hain Koun..! unlike that other game-changer of the ‘90s, Dilwale Dulhania Le Jayenge (1995), has not aged well, Dixit’s phulkari-inspired jacket notwithstanding. The film plays out like a loosely strung together series of incidents, songs and comic interludes. How is a dog playing an umpire at a cricket match supposed to be funny is one of those unsolved mysteries. And while we are on the topic, hope Tuffy, the dog, was treated right on set.

Defence of toxicity

Sanyal’s book mostly steers clear of all the scandals and controversies that followed Khan like faithful shadows. While there is mention of the 2002 hit-and-run case, his tumultuous relationship with Aishwarya Rai and its fallout, and the blackbuck hunting and Arms Act violations cases, the book focuses on decoding Khan and India’s notion of stardom and celebrity through his career.

What little we glimpse of Khan is through his good friend Kailash Surendranath’s reminiscences. Surendranath, who knew Khan from his days as an eager 15-year-old getting his first break in modelling for Campa Cola (remember?) to his decade-spanning superstardom, remembers Khan dropping by for late night paratha-bhurji (scrambled eggs) and his motto for working on his body — “When you have no work, work on yourself.”

An introduction sets out what Sanyal intends to do through the book in great detail. The shortest chapter is the one called ‘With Human Failings’, which lists Khan’s headline-grabbing misbehaviour. His public brawls and brushes with the law are explained away as the cost of celebrity, which does not cut much ice as one cannot sweep bad and outright criminal behaviour under the carpet of “boys will be boys”. The book is at its weakest when trying to defend Khan’s toxicity.

An engaging journey

On the other hand, Sanyal’s book is its most engaging when deconstructing Khan through his roles especially in the chapter, ‘The Journey from Prem to Chulbul Pandey’. The chapter introduces the concept of the Emploi, “a theoretical framework as developed by Erving Goffman in his book, Frame Analysis.” The emploi, Sanyal posits “is a category that accounts for the close interaction between performance and reception.”

Just as Amitabh Bachchan’s angry young man was invariably called Vijay (is his Jai in Sholay a diminutive for Vijay?) and Shah Rukh Khan’s many versions of Dilwale Dulhania Le Jayenge’s Raj went towards building an on-screen persona, so too does Salman’s Prem emploi create a film version of Salman Khan.

Sanyal traces Khan’s development through his 15 different portrayals of Prem. From the slender, doe-eyed Prem of Maine Pyar Kiya, the naughty ‘devar’ Prem in Hum Aapke Hain Koun..!, the Prem who sets things right in Hum Saath-Saath Hain (1999) and the slightly dim-witted Prem of Andaz Apna Apna (1994), who nevertheless gets the girl to the tongue-in-cheek narrator Prem of Ready (2011), the cheating-on-his wife Prem of No Entry (2005), the dating guru Prem of Partner (2007) and the travelling theatre artiste Prem of Prem Ratan Dhan Payo(2015), in his fourth collaboration with Barjatya.

Since the chapter details Khan’s journey from Prem to Chulbul Pandey, there is an analysis of the characters he played who are not named Prem, including Akash in that slightly cringy but melodious triangle Saajan (1991), Sameer in Sanjay Leela Bhansali’s exotically colourful Hum Dil De Chuke Sanam (1999), the obsessed lover, Radhe Mohan in Tere Naam (2003), the tapori Radhe in Wanted (2009), Devil in Kick (2014), Bajrangi in Bajrangi Bhaijaan (2015) and Tiger in Ek Tha Tiger (2012) and Tiger Zinda Hai (2017), Laxman in Tubelight(2017) Sultan in and as Sultan (2021), and of course the corrupt but loveable cop Chulbul Pandey in the Dabangg movies.

Sanyal, who teaches English literature at the University of Delhi, has written a thesis on the anatomy of fame with academic rigour— right down to how Khan’s perfect body also contributes to his iconography. Wish the book was better proofed as there are silly errors that grate coming on the back of such a well-researched book.

All looking for salacious details of Khan’s life will be disappointed while those seeking the magic in the bottle of stardom will not. And I am going back to watching Khan fight off the evil Crime Master Gogo in the delightful Andaz Apna Apna.

[kingstylesdaily]

Why Harry Styles Just Scored His First No. 1 Song

Like any boy band alumnus, he first had to overcome radio’s bias against teen heartthrobs.

Late summer is a great time for sleeper hits: songs that have been hanging around the charts for months and finally hit their stride. Four years ago, in August 2016, Sia’s “Cheap Thrills” reached No. 1 after knocking around the charts since the prior winter, getting its final boost from a Sean Paul remix. In September 2018, Maroon 5’s year-old “Girls Like You” slipped into the top slot after wafting around the Top 10 for more than four months, with a Cardi B verse putting it over the edge. Last year around Labor Day, Lizzo finally topped the Hot 100 with “Truth Hurts,” a song that was two years old and had been rising gradually on the chart since the spring.

This year’s sleeper hit is “Watermelon Sugar,” a wisp of a song by boy bander–turned–self-styled rock star Harry Styles. With a name inspired by Richard Brautigan’s hippie-era, post-apocalyptic novella In Watermelon Sugar, Styles’ lackadaisical tune is not only a sleeper but a grower, the sort of hit that sneaks up on you—I wasn’t sure it even had a fully written chorus the first time I heard it, and I’m pretty sure I’m not alone. Indeed, the whole nation took its time deciding that this quirky ditty would give the starriest, most eccentric member of One Direction his first-ever U.S. chart-topper.

“Watermelon Sugar” is the third single promoted from Styles’ second solo album Fine Line, which was released last December. That alone is remarkable, given the challenge in the digital age of generating chart interest in anything other than an album’s first couple of singles. Generally, in an era when all of an album’s songs are available to be consumed the day the album drops, you need a remix or a special guest of some kind to gin up chart action months after the song first hits streaming. “Sugar” has none of those. To be sure, there was some gimmickry fueling the song’s leap to the top, albeit of an old-fashioned kind: The song had its best week of sales ever thanks to an assortment of limited-edition vinyl and cassette singles that came bundled with a digital download. Those sales got “Sugar” the last mile on the charts, but Columbia Records wouldn’t have put the physical goods on sale if the song wasn’t already a radio smash—“Sugar” currently has the second-biggest U.S. airplay audience—and they knew they had an opening between current hits by Taylor Swift and a pair of lascivious female rappers I’ll almost certainly be writing about in this space next week. So, fair play to Team Harry: They took advantage of an open chart window, a tactic as old as the Hot 100 itself.

As “Sugar” leaps from No. 7 to No. 1 on the Hot 100 this week—essentially switching places with his ex-girlfriend Taylor Swift’s “Cardigan,” which falls to No. 8—Styles scores only the second-ever chart-topper by a member of One Direction. That includes all of the hits by 1D itself. In its five years of recording, from 2011 through 2015, the band never scored a Hot 100 No. 1. This despite topping the Billboard 200 album chart with its first four studio albums, the only group in history to launch a career with that haul. So … what was that other 1D-affiliated Hot 100–topper I mentioned? It was by ex-member Zayn Malik, the only member to break from the crew while it was still active. Zayn’s smoldering, Weeknd-esque boudoir jam “Pillowtalk” debuted at No. 1—and spent a solitary week there—in the winter of 2016, fueled by blockbuster streams and downloads ginned up by 1D superfans still mourning his departure the prior year and the group’s resulting, presumably permanent hiatus.

Explaining how the top-selling boy band of the 2010s could shift so many CDs and downloads but generate only two No. 1 singles means briefly recapping the fraught history of boy bands and the charts. Selling albums has never been hard for pinup pop groups, since the days of Meet the Beatles! and More of the Monkees. And in the ’70s and ’80s, such precision sing-and-dance troupes as the Jackson 5, the Osmonds, and New Edition managed to generate both gold albums and chart-conquering singles. In 1989, New Kids on the Block had the year’s second-biggest album and four of the year’s top singles, including a pair of No. 1s. But starting in the ’90s, as U.S. radio networks consolidated (fueled by the 1996 Telecommunications Act) and programmers more narrowly targeted specific demographics, radio stations shied away from maximalist teen-pop that appealed primarily to under-18 audiences. By the end of that decade, even as boy bands were enjoying a new wave of TRL-fueled popularity, radio became a chart handicap for them. The Backstreet Boys and ’N Sync had the top-selling albums of 1999 and 2000, respectively—the diamond-selling Millennium and No Strings Attached—but only scored a solitary Hot 100 topper between them, ’N Sync’s “It’s Gonna Be Me.” (Backstreet never hit No. 1: The deathless “I Want It That Way” peaked at No. 6.)

This radio bias against boy bands has persisted into the 21st century. And ever since the Hot 100 went digital about a decade and a half ago, teen-pop’s chart placements have been the result of a battle between rabid downloaders and radio gatekeepers—massive digital sales compensating for modest radio play. For example, radio was what kept the Jonas Brothers from scoring any chart-topping hits during their original wave of teen idoldom; their biggest hit of the ’00s, the No. 5 hit “Burnin’ Up,” sold 2 million downloads but only ranked 55th at U.S. radio. By the ’10s, the same fate befell one-man boy band Justin Bieber. In this long-running Slate series, I have chronicled the blow-by-blow between Justin Bieber and radio programmers that swung from Justin as hit-starved teen idol in the early ’10s to dominant young-adult chart-dominator in the late ’10s. In the early ’10s period, Bieber was a YouTube and iTunes demigod with not a single radio smash to his name. He could sell a half-million downloads of “Boyfriend” in a week and still fall short of the No. 1 spot, thanks (no thanks) to radio.

For One Direction, the chart patterns were the same. A Frankenstein’s monster that Simon Cowell famously threw together in 2010 on his televised competition The X Factor from five solo competitors—Niall Horan, Zayn Malik, Liam Payne, Harry Styles, and Louis Tomlinson—1D continually found its singles dragged down on the Hot 100 by radio, even as the band sold truckloads of albums. The pattern was set in fall 2012 when “Live While We’re Young” debuted with a staggering 341,000 downloads but could only get to No. 3 on the Hot 100, thanks to its 50th-ranked radio airplay. In the summer of 2013, the slyly Who-interpolating “Best Song Ever” became 1D’s highest-charting hit ever, debuting at No. 2 with record video views and near-record downloads, but at radio it never got past No. 53. “Story of My Life” (No. 6, 2014), “Drag Me Down” (No. 3, 2015)—no matter how many downloads sold or videos viewed, 1D could never top the Hot 100 so long as its radio spins remained limited.

The reason I’m running down all of this granular chart data is it reveals the hurdles both 1D and its post-breakup soloists had to overcome to top the Hot 100. Like Justin Bieber, they had to become credible radio fodder with adults as well as kids. With his early break from the group, Zayn was the first to pull this off. Though “Pillowtalk” debuted at No. 1 largely due to massive sales and streams, the carnal song did eventually become a No. 4–ranked airplay hit. Cleverly, Zayn had chosen a then-current EDM-inflected R&B mode and dropped his debut while the Weeknd was between albums. Other former 1D-ers have had their share of solid radio hits, including Liam Payne’s hip-hop–inflected “Strip That Down” featuring Quavo of Migos (No. 10 on the Hot 100, No. 4 on Radio Songs) and Niall Horan’s softly bopping pop jam “Slow Hands” (No. 11 Hot 100, No. 2 Radio Songs).

And Harry Styles? He decided to make things harder on himself. His 2017 debut album was chockablock with old-school classic rock. This would be like launching a career in 1964 with big-band jazz. While Styles’ fame ensured a big launch for his Bowie-esque single “Sign of the Times”—it opened, and peaked, at No. 4 on the Hot 100, fueled by strong downloads—radio showed only moderate interest. It eventually reached a modest No. 21 on the airplay chart. Later Harry singles like the twangy “Two Ghosts” and the thrashy “Kiwi” missed the Hot 100 and had little radio profile beyond a handful of pure-pop stations that were loyal to Styles from his 1D days. One admired Harry for following his artistic muse—more Joni Mitchell than Justin Bieber—but as a pop star, he arguably squandered his momentum coming out of One Direction.

What has made Fine Line, Styles’ sophomore album, such a clever left turn is he retained the rock flavor he naturally gravitates toward but converted it into mellow California-style surf-pop, and he let his production team—Tyler Johnson and Thomas “Kid Harpoon” Hull—fashion the songs into percolating radio jams. Each single has opened the door a bit wider: “Lights Up,” a No. 17 last October, is lightly strummed beach music with ethereal backing vocals. And “Adore You,” a No. 6 hit in April (for my money, still Styles’ best single), is thumping electropop. “Adore” in particular served as Styles’ entrée onto radio’s A-list—it reached No. 1 on mainstream Top 40 stations and No. 2 on Radio Songs by early summer.

With this beachhead established, Harry was finally free to let his freak flag fly with “Watermelon Sugar,” which is simultaneously his oddest single and his most infectious. The chorus consists of nothing more than the line “Watermelon sugar high” repeated a half-dozen or more times, with emphasis on the “HIGH.” (TikTok users have keyed into this idiosyncrasy, sharing videos in which the “high” gets its own video edit of the user playacting her best stoner face.) Last November, when Styles did double-duty hosting and singing on Saturday Night Live, “Sugar” was one of the songs he performed, and in that indoor setting, it came off as willfully quirky and seasonally incongruous; the song’s first verse line is “Tastes like strawberries on a summer evenin’.” Now, timed for 2020’s beach season—complete with a video filled with beautiful people on the shore, shot just before the pandemic and, according to a title card, “dedicated to touching”—it’s sitting atop the hit parade.

In short, Harry Styles finally has a profile on the radio and on the Hot 100 that matches his profile on magazine covers, and he achieved it on his own schedule and something like his own terms. Like John Lennon in the ’70s—the founder and nominal leader of the Beatles but the last former Fab to reach the toppermost of the poppermost as a solo artist—Styles just had to find his own way. As that onetime teen heartthrob sang, “Whatever gets you to the light, it’s all right.”

source: Slate