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sanjayforsales · 11 days ago

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Guerrilla Marketing vs. Traditional Marketing: What Sets Them Apart?

In a world full of advertisements, guerrilla marketing is a novel and unorthodox approach for firms looking to stand out. The tried-and-true methods of traditional marketing stand in stark contrast to this daring, surprising, and frequently memorable approach. What is guerilla marketing, though, and how is it different?

Let’s dive into the unique, attention-grabbing world of guerrilla marketing and how it differs from traditional approaches.

What is Guerrilla Marketing?

Guerrilla marketing is a technique that uses unexpected methods, inventiveness, and surprise to advertise goods and services. It emphasizes surprise and creativity above large funds in order to have a significant impression, drawing inspiration from guerilla warfare strategies. Guerrilla marketing initiatives usually focus more on memorable, creative moments that engage viewers personally than they do on monetary investment.

For startups or smaller companies hoping to have a significant effect without the resources of larger organizations, this approach is especially well-suited. But when they want to stand out from the crowd and leave a lasting impression, even well-known firms turn to guerilla marketing.

Key Characteristics of Guerrilla Marketing

Thinking outside the box and being unorthodox are key components of guerilla marketing. Here are a few distinguishing traits:

Low Budget, High Impact: Guerrilla marketing strategies often rely on creativity rather than cash. The most memorable campaigns usually come from small budgets combined with big ideas.

Element of Surprise: By being unexpected, guerrilla marketing grabs attention and builds curiosity. Whether it's a flash mob, an art installation, or a clever street ad, these campaigns stand out because they’re unpredictable.

Engagement Focused: Guerrilla marketing isn’t just about one-way messaging; it’s about engaging the audience. Many campaigns involve an interactive element that encourages people to participate or share the experience on social media.

Viral Potential: These campaigns are designed to be sharable. The more unique and memorable the campaign, the higher the chance it will be shared across social media, multiplying its reach organically.

Connection with the Audience: Guerrilla marketing often operates in spaces that allow it to connect with the audience directly—be it on the street, at events, or in unexpected venues. This fosters a personal connection, making the brand feel more relatable.

What is Traditional Marketing?

The kind of advertising that has been used for decades and usually calls for a large budget is known as traditional marketing. It covers media like billboards, direct mail, print ads, radio ads, and TV commercials. Exposure to audiences in a predictable and recurring manner is the foundation of traditional marketing, which aims to gradually increase brand memory and awareness.

Key Characteristics of Traditional Marketing

While traditional marketing may lack the “wow factor” of guerrilla tactics, it remains essential for businesses of all sizes:

Predictability and Structure: Traditional marketing channels follow established formats and schedules. This consistency makes it easy for brands to plan and measure results.

Broader Reach, Higher Budget: Traditional campaigns are generally expensive, but they reach a broad audience, which is why they’re often used by large companies with the budget for mass exposure.

Less Personal Engagement: Traditional marketing reaches a wide audience but lacks a personal connection with individual customers, as it’s more focused on delivering the brand message than engaging directly.

Reliability and Familiarity: Traditional marketing feels trustworthy to consumers who are used to seeing brands advertised on TV, radio, or in print, making it a reliable choice for brand building and product launches.

Tangible Metrics: Traditional marketing offers clear, quantitative ways to measure success, from viewership and readership numbers to conversion rates, making it easier to evaluate ROI.

Guerrilla Marketing vs. Traditional Marketing: Key Differences

Traditional marketing and guerilla marketing each have special benefits and are appropriate for certain objectives. Below is a summary of their main distinctions:

Cost and Resource Allocation

Guerrilla Marketing: Requires minimal resources and is based on creativity and cleverness. This makes it ideal for brands with smaller budgets.

Traditional Marketing: Requires significant financial resources for ad space, production costs, and ongoing placements, making it a long-term financial commitment.

Audience Impact

Guerrilla Marketing: Aims to create a memorable impression quickly and is often limited to a particular location or event, leading to high-impact moments.

Traditional Marketing: Seeks brand exposure over time, aiming for steady growth in brand awareness through repeat impressions.

Longevity and Timing

Guerrilla Marketing: Campaigns are often short-term, focusing on the power of a one-time surprise to leave a lasting impression.

Traditional Marketing: Involves a long-term approach, relying on regular and repeated exposure to reach its target audience consistently.

Audience Engagement

Guerrilla Marketing: Encourages active participation and emotional engagement. Many campaigns go viral precisely because people enjoy engaging with them and sharing their experiences.

Traditional Marketing: Primarily a one-way communication channel that broadcasts a message without involving the audience directly.

Metrics and Measurement

Guerrilla Marketing: The success of these campaigns is harder to measure and is often based on social media reach, word-of-mouth, or brand sentiment.

Traditional Marketing: More trackable with defined metrics like reach, ratings, impressions, and sales impact, making ROI easier to calculate.

Real-World Examples

To illustrate how these two approaches work, here are some notable examples:

Guerrilla Marketing: The ice bucket challenge went viral on social media in 2014 and helped raise more than $115 million for ALS. In order to start a viral chain reaction that went throughout the world, the campaign urged participants to dump a bucket of cold water over their heads and nominate others to do the same.

Traditional Marketing: Traditional marketing is exemplified by Coca-Cola's "Share a Coke" campaign. To encourage sharing, the company placed people's names on bottles and sent them out all across the world. The campaign's main tools for spreading the word and boosting sales were billboard, print, and television advertising.

Which Approach is Right for You?

The choice mostly depends on the brand, the campaign objectives, and the target audience, even if both standard and guerilla marketing offer special benefits. Guerrilla marketing provides a way for new or smaller brands to create a huge impression on a shoestring. For well-known brands or businesses with larger consumer bases, traditional marketing offers a dependable, continuous method of establishing enduring brand recognition.

Combination of Both: To strike a balance between effect and reach, many firms today combine traditional and guerilla marketing. For a more all-encompassing strategy, they might, for instance, start a surprise event (guerrilla) and then use TV commercials and social media to spread the word (conventional).

Both standard and guerilla marketing provide distinctive approaches to engaging customers. Guerrilla marketing lives on innovation, surprise, and the force of the unexpected, whereas traditional marketing offers consistency and broad reach.

Brands will have even more chances to combine these tactics as digital platforms develop further, producing memorable ads that appeal to consumers' emotions and reach a wider audience. The correct marketing plan will make your brand memorable, whether it's through a daring street campaign or a regular TV appearance.

#sales #sales training #marketing

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yoshihashismattebum · 2 months ago

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For the music asks: 1, 17 and 20!

Thanks for the ask! 💙

1. A song you liked as a child

I grew up with the music taste of a 60 year old man, so I mostly listened to classical, Buddy Holly, Elvis, and Bruce Springsteen until my early teens. My tastes have expanded a fair bit since then (I'm a real Benjamin Button in terms of music preferences), but my love for Bruce has never waned. One of the greatest songwriters ever, imo. And as this song is all about the inexorable draw of nostalgia, it seemed quite fitting!

17. A cover song

A brass band/collective that does metal and rock covers sounds like it might just be a joke, but Brass Against are legitimately fantastic imo! Theirs is still one of the most fun, energetic, cathartic (and heaviest!) gigs I've ever been to. Plus they have an excellent activist ethos. This is one of my favourite Rage Against the Machine songs, but I think this cover might be even better than the original!

20. A song you’d put on a playlist for the person who sent you this ask

Ooh tricky! I'm going to go with some Allie X! I have no idea how generally well-known she is, so you may already know this (plus I know you listen to the radio and I don't :P ). But in case you don't, it's a super catchy pop banger off her latest album that also happens to be about top surgery and dysmorphia. Great lyrics, great tune, great to dance to. The whole album is fantastic imo! Well worth a listen!

#ask game #thewaythroughthewoods

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ourladyofomega · 1 year ago

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Great news for most of you: @rivetgoth has summoned me to choose ten of my favorite listens of September ‘23. Expanding the time span to thirty days meant holding out until the end of the month just to be sure. Picking out only ten was easy to do, and whether you like me or not, you’re gonna’ have to deal with it.

Your winners are:

#1: Replacements, The: "Unsatisfied" #2: Cult, The: "Rain" #3: Chemical Brothers: "No Reason"

This group of three is what happens when you’re following a mutual who’s super-obsessed about music. @tewz is an open book with plenty of audio and music video posts for the taking, plus a couple of Spotify playlists to rifle through. (Stay for the cat videos, too.) She’s my go-to and because of her, I had easy assembly of one of my recent radio broadcasts.

A fellow dee-jay asked me to fill-in for him not long ago. Now I had a double-broadcast (four hours) to set up. I had enough reserves from her to pull it off, so The Replacements’ “Unsatisfied” and The Cult “Rain” made the cut. Chemical Brothers: "No Reason" reminded me why they retained a feverish fan base to begin with, going all the way back to their “Setting Sun” days. Dare I say it reminded me of Daft Punk? Really, I thank her for everything music-wise she’s given me, ever.

#4: Crime Of Passing: "Off My Shoulder"

I love everything about this track. Unmistakably reminds me of Diat and the rest of the record follows with goth rock, post-punk / d.i.y, and coldwave. As a whole, Crime Of Passing displays a great style, aesthetic, seriousness, and urgency; all coming together and consistent as a gloomy yet smoking-hot nine-track album.

#5: Yfory: "Chwaer Pwy?" #6: M(h)aol: “Therapy” #7: Es: "Emergency"

I did an all post-punk / d.i.y. broadcast last month. One portion of the show had me group together female-fronted bands from Europe. That block started with Germany’s Maraudeur, continued on with Scotland’s Breakfast Muff, and then these three. Anyone paying attention knows that Europe (and especially the UK) is giving every other city scene a run for their money.

Also from Germany, Yfory struck me with their album cover (If anyone can identify that typeset, do let me know), their fluid Welsh lyrics which is new to me, and their great craftsmanship; hence "Chwaer Pwy?". I went with “Therapy” from feminist band M(h)aol because it sounds so rough. It’s the Irish equivalent of Guerilla Toss’ “Eraser Stargazer Forever” which sweeps the floor of everything. (If you really want to set yourself on fire, listen to “Period Sex”. Wow.) And, I got excited for new sounds from England’s Es. I played their opener “Emergency” at least 20 times and I still haven’t figured them out. That’s a good thing. Fortunately, the hopeful sounds of “Emergency” follows towards Less Of Everything and far away from Object Relations, and that’s from Flora Watters on keyboards, who is that special ingredient that makes Es. Their uniqueness pushes them near the very top of post-punk / d.i.y.

#8: Mamalarky: “Green Earth”

No way! What is this?! As if Palm’s Dog Milk and Mr. Elevator got a room, fucked, and made this. And I don’t know why I’m also equating Todd Rungren’s “Hello It’s Me”, maybe Peter Max, and other late-Sixties / early-Seventies standards in the mix, but this sounds amazing. It has that lo-fi, drowsy, malfunctioning feel with a wondrous charm to it. It’s really beautiful.

Now get this: “Green Earth” is on the environmentally- conscious The Eleventh Hour: Songs for Climate Justice compilation (and later Pocket Fantasy: B-Sides), and then you can clearly hear vocalist Livvy Bennett breathe in and inhale before singing each verse. Get it? Any song that can transport you to a new, undiscovered world is a unanimous winner in my book.

#9: Blonde Redhead: “Melody Experiment” #10: Tan Cologne: "Visitation"

To describe these in one word: inexplicable. They can be a soundtrack to a future world that could very well be possible, but in the same measure possibly not. These would fit right in with the annual ‘second chance’ broadcasts I do to end the year. ‘Second chance’, meaning, songs I enjoy but simply don’t fit into a specific category, so they have one all of their own. Think Erasers’ “Easy To See”, Mega Bog’s “Maybe You Died”, New Chance’s “Real Time”, Lily’s “New Fries”, and Il Quadro Di Trosi’s “Sfere Di Qi”.

“Melody Experiment” from Blonde Redhead sounds unreal to me. I still don’t believe it even exists. If it does, it’s the definition of ‘slick’. Sonically, it has wavelengths of “Corrections” from Phil Western and a breath similar to Pixel Grip’s Rita Lukea. Don’t ask me why I came up with that. To each, everyone’s own. Tan Cologne’s new single had to be influenced by Nancy Sinatra & Lee Hazelwood “Sand“; the all-encompassing heat during the pending sundown on a blazing-hot Summer day. These final two picks I’ve already heard at least thirty times, and I plan on hearing them thirty more.

Good news: I tag no one. As always, play at your own risk.

#personal #music #thank you!#Replacements #Cult #Chemical Brothers #Crime Of Passing #Yfory #Es #M(h)aol #Mamalarky #Tan Cologne #Blonde Redhead #omega #our lady omega

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bracketsoffear · 6 months ago

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For Whom the Bell Tolls (Ernest Hemingway) "In 1937 Ernest Hemingway traveled to Spain to cover the civil war there for the North American Newspaper Alliance. Three years later he completed the greatest novel to emerge from "the good fight," For Whom the Bell Tolls. The story of Robert Jordan, a young American in the International Brigades attached to an antifascist guerilla unit in the mountains of Spain, it tells of loyalty and courage, love and defeat, and the tragic death of an ideal. In his portrayal of Jordan's love for the beautiful Maria and his superb account of El Sordo's last stand, in his brilliant travesty of La Pasionaria and his unwillingness to believe in blind faith, Hemingway surpasses his achievement in The Sun Also Rises and A Farewell to Arms to create a work at once rare and beautiful, strong and brutal, compassionate, moving and wise. "If the function of a writer is to reveal reality," Maxwell Perkins wrote to Hemingway after reading the manuscript, "no one ever so completely performed it." Greater in power, broader in scope, and more intensely emotional than any of the author's previous works, it stands as one of the best war novels of all time."

The Executioner (Don Pendleton) ""I am not their judge. These people have judged themselves by their own actions. I am their judgment. I am their executioner."

Mack Bolan (nicknamed "The Executioner" by his fellow soldiers) is an elite sniper/penetration specialist in The Vietnam War when he receives word that his father Sam, a steelworker in Pittsfield, has gone insane and shot dead his wife Elsa and daughter Cynthia ("Cindy"). On talking to the Sole Survivor, younger brother Johnny, Bolan discovers that his father was being squeezed by Mafia Loan Sharks and, on hearing that his daughter was prostituting herself to cover his debt, snapped under the pressure.

Figuring there's no point in fighting a war 8,000 miles away when there's a bigger enemy right here at home, Mack Bolan sets forth on a one-man crusade to destroy The Mafia, using all the military weapons and tactics at his disposal including heavy machine guns, rocket launchers, sniper rifles, night-vision scopes, radio-detonated explosives, electronic surveillance, silenced handguns and the garrotte. Bolan is also fond of using wiles to turn his enemies against each other.

Inspired the character of The Punisher. Being in the Mafia (no matter how distant the link) is punishable by death. Doesn't matter if you just are an errand boy, you are guilty and must die."

#slaughter poll #the slaughter #poll #the magnus archives #leitner tournament #For Whom the Bell Tolls #Ernest Hemingway #The Executioner #Don Pendleton

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onyx-archer · 2 years ago

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Hey, a second commission sharing post in one day? It’s more likely than you’d think. This one is by the artist Sinizade on Twitter (you can scan the QR Code, or click HERE!), and it features Abigail and Olivia on an in-universe magazine cover promoting their first single off of their upcoming third album. The song is called “Not Your Nymphet!” and is loosely based on the novel “Lolita” by Vladimir Nabokov, but it’s sung from the perspective of Dolores Haze. I went into this whole thing with the idea of the song, and Sinizade helped bring the vague elements (like the broken iconography of the movie versions of the book) into a proper cover image. I wasn’t even sure about the angle she chose, but it ended up looking stellar in my opinion. I actually wanted to make something involving this concept for a while, but didn’t think I’d commission a magazine cover. It forced me to make the band name (VANDOLLZ), and the name of a publication in universe (Guerilla Radio), and to properly name the song and album (”Not Your Nymphet!” and “Burnt Books Make Burnt People” respectively). I just wanted to make something like an album cover with the imagery of the broken Sunglasses, Lollipop, and Scrunchie... as if they were broken by Dolores herself. I’m going on and on about what this is because I put a lot of thought into the symbolism and the meaning behind the song, and the album name. The song is because a lot of people don’t really get the point of Lolita, at least in my view, and I wanted to focus on the fact that Dolores was a victim in the story, and how stuff like the Sunglasses symbolize the skewed view of the story. The Album Title came about because of the quote "Where they burn books, so too will they in the end burn people" by German writer Heinrich Heine. He was a writer that would later have his own work burned by Nazis, save for a single poem that would be republished without his name attached by the Nazis. It struck me as a good quote. I have a few more ideas based on banned/challenged books that factor into the album, though some of those books will be more contested than others. They’ll usually have some sort of spin on them though. I actually have a second commission from Sinizade in the works right now, so look forward to that if you like this one, and go follow her on her socials.

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rastronomicals · 10 months ago

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4:47 AM EST January 22, 2024:

Richard Cheese - “Chop Suey” From the album Tuxicity (October 1, 2002)

Last song scrobbled from iTunes at Last.fm

Richard Cheese Cover Versions That Might Be Better Than the Originals

5. “Smoke Two Joints” 4. “Chop Suey” 3. “Insane in the Brain” 2. “Enter Sandman” 1. “Guerilla Radio”

File under: Loungecore

–

#Richard Cheese #Tuxicity #Chop Suey

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poisoneitherway · 1 year ago

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5 SECONDS OF SUMMER - THE FEELING OF FALLING UPWARDS: LIVE AT ROYAL ALBERT HALL

(transcription from the deluxe album booklet under the cut)

Like all moments of light, "The Feeling of Falling Upwards" begins in total darkness: an exhale, a single second held to feel like a lifetime, limitless possibility meeting the total anxiety of potential. Then, their screams-your screams-a chorus of thousands of voices fill London's famed Royal Albert Hall, emanating from a crowd dressed in suits and gowns, louder and more resonant than even the venue's iconic golden pipe organ. Tonight, that instrument is covered by the stage-no distractions-this performance is all about the band, their songs, and you.

Synths boom. A 12-piece string ensemble's orchestral maneuvers tease a future crescendo. Pianos twinkle. Soon, stage lights will illuminate from the floorboards, pointing upwards to reveal a choir. Can a rock show be bigger than Broadway? Can a rock show feel like floating? Can a rock show change your life? 5 Seconds of Summer take their positions-Calum's bass leads, D to A minor. Luke clutches a microphone: "Caught up in Heaven, but your Heaven ain't the same / And I've never been a saint, have I?" By the time the chorus of "Complete Mess" hits, it's total ascendance in multi-part harmonies, the kind 5SOS fans have come to adore from a band immeasurably in sync with one another. (Four vocalists, but different this time. It's four, plus 12: the House Gospel Choir, known for their work with Kylie Minogue and Primal Scream, stand on a crescent moon platform above 5SOS's heads mirroring a long desert sunrise, to add magnitude.)

These harmonies are a nostalgic sound-you first heard 'em in 5SOS's suburban Sydney living room, covering "Teenage Dirtbag back in 2011. Or maybe it was 2013, just across the street from this hallowed hall, at the Marble Arch, where a tweenage, fringe-and-skate-shoe-wearing 5SOS could be found performing outside for their nascent audience, a community soon to become unwavering in their dedication. These are the kind of fans a band could only dream of inspiring, and this Royal Albert Hall performance is the kind of full-circle moment a band could only dream of achieving. That's the peculiar magic of setting intentions; thank goodness 5SOS, despite every challenge, has stuck around long enough to enjoy it, to get here. Thank goodness you have.

This is the feeling of falling upwards. And it's like nothing they've ever felt before.

"We've done a bunch of different stuff for fans along the way," Luke laughs. "We've gone down the sides of buildings. We've done crazy stuff all over the world-guerilla marketing, hiding things..." It's true: 5 Seconds of Summer have never been strangers to creative promotional activities dedicated to their unimpeachable fans (remember Derp Con?) but the Royal Albert Hall show was something else entirely. 5SOS5, the band's fifth album, recorded in Joshua Tree, CA-the desert majesty three hours east of Hollywood, an enclave of hippie mysticism, knotty cactus, and trees with spiky arms reaching towards a sunset-y sky-provided. 5SOS with a new sense of autonomy, and creative self-assurance. "It gave us the confidence to know that the four of us are capable of creating something really great-just the four of us," as Michael describes it. And so any event around the release would need to eclipse it: to be bigger than just an interview or fan convention.

It would need to highlight their newfound freedom, their willingness towards collaboration, their celebration of musical diversity. And so the band's manager, Benjamin Evans, had an idea. What if 5 Seconds of Summer created a unique show, a production like never before? One that they could live stream around the world on the eve of the album's launch, so fans all around the world could join in the occasion? Wouldn't that be a great way to showcase the band's greatest asset-their live show-in a way that went beyond the same radio and TV spots? What if the band performed with an orchestra and a choir for the first time, ever, reimagining songs from their extensive discography alongside new album tracks, recording the event to later release as a live album?

Surely it would have to be at a truly iconic venue, a bucket list experience for any musician. The prestigious Royal Albert Hall was the obvious choice, for its legacy and most importantly, its place in the history of the band. "We used to busk outside of it [a decade ago]," as Calum is quick to point out.

What if they ran a series of flyaway competitions with media partners to bring fans from outside the UK to London for the one-night-only special? Wouldn't that make it more than a record release, but an unrepeatable moment in the band's history, forevermore?

And what if, instead of turning it into "5SOS5 Live," they created something timeless-a career-spanning set to anchor the entire existence of this band into something mythological, a release superfans and casual listeners alike could hold on to, and return to across their lives? The Killers, Emerson Lake and Palmer, Dusty Springfield, The Who, Arctic Monkeys, hell, Bring Me the Horizon have all released records Live at Royal Albert Hall-if they could just pull it off, 5 Seconds of Summer would join some impressive company. But ideation is one thing: conception, another.

Working with Ben Dupont of Moment Factory, who directed all the visuals, stage set, lighting, and production for the show in just under one month, "The Feeling of Falling Upwards" took an army. 5SOS was just coming off of a few years spent inside finding new ways to thank the fans that have always supported them, like "The 5SOS Show: A 10 Year Celebration," a self-referential, playful commemoration of their decade together as a band, that they created a year earlier and made available for free-and their massive. "Take My Hand" arena and amphitheater tour, with its elevated production from past tours. With "The Feeling of Falling Upwards," they wanted something "classier," for Royal Albert Hall as Calum describes it. "Stripped back, but also multiplied, in terms of its organic element."

"They wanted symphonic, acoustic, timeless," says Ben. "When Nirvana performed at the Hall, they put a ton of flowers on the stage, and it stayed as this iconic look. Less is more. "Do one thing, but do it in a bold way." He endeavored to do the same: hiding the organ behind a stage to elevate the choir, hiring a theater lighting designer to enhance the drama-more edgy Broadway than rock show-complete with Svoboda lighting, an old school Tungsten fixture used to create light curtains atop each member. On stage, he instructed his team to build sand dunes-Styrofoam with real sand coating, meant to look wind-swept, leanin organi the band's risers, an "elegantly disruptive" set, as he puts it. The dunes were 5SOS's version of Nirvana's flowers, bringing a bit of Joshua Tree to rainy England.

The lighting's color story enhanced the experience: "Outer Space/ Carry On," a cut from the band's second record (2015's Sounds Good Feels Good) that they hadn't played live in half a decade, was illuminated a rich blue; closer "Bad Omens" was a sunrise gradient of pink and orange. Most surprising was "Youngblood," the song that gave 5SOS its second life in an industry that, 9 times out of 10, will choose to eat up and spit out its young talent was lit "underside of a leaf green," as Ben describes it, despite the fact that most performers stay away from green. It's too witchy. Too Halloween-y. Green, it turned out, was a favorite of at least Ashton, who, despite being asked by Ben to play silver instruments to take the light off the stage, broke out a green drum. "It's a sore thumb!" Ben remembers thinking. "I was disappointed." Then Ash confronted him about it. "He showed me a photo of a tiny baby plant, two little leaves, growing in the middle of a dune in the desert. For him, that's what his drum kit was doing on stage. I thought he only chose it because it sounded great, with no consideration for the visual aesthetics. But his vision was so much deeper."

Their band itself grew from four members to 31: the 12-piece string orchestra, the 12-member House Gospel Choir, legendary keys-man Roger Manning, "If you've heard an alternative rock record in the last 30 years, Roger is probably playing keys on it... Whether it's Blink, or Morrisey, or Air, or Beck." says lan Longwell, one of 5SOS's music directors who also played orchestral percussion for the band when their previous pick dropped out last minute. Ian was joined by his partner, the band's other MD, Drew Chaffee, who played guitar, synth, and samples. Together, Ian and Drew created a set list-career-spanning but not too backwards-facing, meant to highlight and celebrate the launch of 5SOS5 but most crucially meant to stand on its own. This performance needed to endure, to stand out like the brightest sunset in a career full of them.

They worked with a man called Brandon Collins on the orchestral arrangements, to completely transform some of 5SOS's most identifiable songs. "Teeth," with its "pissed off strings" became "a little more Ennio Morricone, more score-sounding," says lan, the perfect moment to use the orchestra in a heavier way, "to at the end, flip it, and take it to the death star," as he describes it. "She Looks So Perfect" was stripped to its barest materials, a reimagining that came from the most surprising source: Ed Sheeran. "The year the song came out, he covered it, and it's beautiful," says Ian. "It's pretty much the same melody but it skips a chord-it's just him and an acoustic guitar." 5 Seconds of Summer did something similar, adding voices, strings, dimension. "It's the opposite of what the actual song is," Calum says of the new arrangement. "Songwriting is the top priority for this band, and [an acoustic performance] allows it to shine for what it is: a beautiful song."

"That and 'Older' were the most fragile moments of the set," lan jumps in. For Luke, that's especially the case: it is the first time he's gotten to perform it with his fiancé, Sierra Deaton, a romantic duet emphasized by their forever partnership. "That was really special," Luke says of the moment, still at a loss at its majesty. "It was cool, to have the stars align, to be able to do that."

On rare occasion did the songs stay more or less the same than their tour counterparts: "Red Desert," lit red, abridged, and used primarily as a drum break for Ashton, made it onto the set list because "we needed to hit that chorus at least once with the choir," says lan. "Lie to Me" was an uphill battle. "The joke at rehearsal was that it was cut but we were insisting on practicing it anyway. But when we heard it with the choir, it sounded like Simon and Garfunkel."

At the tail end of September, just before the curtains were raised on "The Feeling of Falling Upwards," there was a three day, big production rehearsal in Redditch, near Birmingham, two hours out of London-the only space the team could hire to fit their entire production. Day one was Ian, Drew, Ashton, Michael, and the 12-piece choir huddled in a 500 square foot office room of the production venue while the stage was being built downstairs. They sang through the entire performance and did a lot of simplifying. After all, no collaboration is ever exactly how you imagine it, until you do it; that's the beauty of communal artmaking. The second day was strings/orchestra only. Day three was a full production dress rehearsal with choir and strings together for the first time-they ran through the production in its entirety-immediately moved by what they had created. "This is the first time we've played with other musicians on stage. That's a scary thing," says Calum. "You need to let them have free will as artists as well, which gave it so much life. That's the reason it's so different from anything we've ever done." Luke jumps in. "We wanted to make a core memory for the band- a benchmark-something we could always be proud of. This isn't a flash-in-the-pan thing."

"You only get one shot," Michael agrees. "That was the most nerve-wracking part... It was an incredible learning experience and helped mend some of my trust issues." He pauses. "Every time I played, every time I strummed a guitar chord at Royal Albert Hall, I was like, 'This is the only opportunity I get to play this chord. You know what I mean? But with that came this beautiful moment of seeing the songs for what they were." Therein lies the metamorphosis: there was no existential clarity, only connection: with the other musicians on stage, with the well-dressed audience, with the viewers at home, with you.

"I do remember at the very, very end, just taking a look around for a second, at this stage we built, the incredible people who pull it together, everyone in the band," Michael continues. "I had this moment of 'Once I leave this stage, that's it. That's the last time I'll play a show exactly like this. Two years ago, we had gone out in the middle of nowhere and decided, 'What happens, happens...." He trails off, feeling the weight of making 5SOS5, and the Hall performance, all over again. "All of that all that I felt happened in the space of about two-and-a-half-seconds on stage." He jokes that it was the opposite of a near-death experience. "A full life experience!"

"There is no other record that we've made that could be the core of what we've just done," Calum says, starry-eyed. "And that's very telling of the soul of the record." Without 5SOS5, the band would've never gotten to this point, and they certainly would've never learned to live inside of the songs of their past. "As I get older, I learn you can shift your perception on things," he continues, "Stop taking things so seriously for myself. That's been a big learning curve for us." It's the reason he can deliver a classic Calum song like "Amnesia" as sincerely as he did when he was 18, now at 26 years old. "I feel a lot closer to that song, as I did before, when I was younger," he says. "I respect what it's done for this band and what it's done for a lot of people."

5SOS fans go beyond the regular rock music listenership; they participate in each stage of this band. "They've followed 5 Seconds of Summer to London when they were so young and everywhere else the band has gone in the time since. ("I'd never left the country before we moved to London," says Luke, "We figured out, early on, that we needed to leave Australia to come back stronger.") On stage at Royal Albert Hall, 5SOS was able to connect to that idea: their past selves, but also the fans that joined them along this journey. "I felt like a more elevated version of myself on that stage," says Luke. "Songs I put in the back of my mind, that I didn't really think held much emotional weight, got to me." For him, that meant a lot of songs from Sounds Goods Feels Good, specifically. "The second album had a lot of ambition, tons of strings, but we were still wearing skinny jeans and Converse on stage; we hadn't swayed too much from our pop-punk roots," he laughs. "I don't know if subconsciously there was any desire to perform them live at Royal Albert Hall one day, but we did have a big orchestra in London play on the recorded version of 'Outer Space/Carry On. We never thought we'd have the capacity to play them live." Until they did. Listen to your former selves, there's a real prescience there. This was always possible. "I'm trying to fill in the gaps, emotionally, to understand who I am," he adds. "We all are."

Near the end of the set at Royal Albert Hall, Ashton, the band's heart-poet, gives a definition for the crowd to hold close. "The Feeling of Falling Upwards' is simply supposed to describe to you the feeling that we have experienced together, the feeling of taking a leap of faith on such a fickle thing like music," he smiles, "And sharing this experience together year after year, season after season of our lives."

It is far too easy for musicians to grow up to become parodies of themselves. If they find a formula that works, they can repeat it ad nauseum, leaning into superficial, outward readings of who they are and what they do. But 5SOS, on stage and in the current era, are five-dimensional; their pop-punk selves, their .... operatic selves, and everything in between. "We worked really hard to make this happen," Calum says. "You speak positivity and manifest great outcomes for yourself."

Luke agrees. "There's a light at the end of the tunnel," he says "There's a brightness worth fighting for."

#5sos #tfofu #5 seconds of summer #not that anyone asked for this but I made it anyway cause I know not everyone bought the deluxe cd :)#And I haven't seen anyone post this on tumblr #Can someone also tell me if I can get in trouble for posting this??? I hope not lmao #Anyways I didnt actually write all of this I took pictures and extracted the words -> but hopefully I managed to correct any mistakes #i ran grammarly through this so the only mistakes left are missing dots and stuff like these hopefully :)#5sos ono #e*

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pissfaggot-transsexual · 1 year ago

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3, 4, 10, 13, 21, 30 :)

thank you for the excuse to ramble and ramble and ramble about music ask :]]

3, favorite songs

oh god how do i choose. ok lemme think really fuckin hard for a sec... uhhhhhhh..... fuckinnnn..... ok.

Bad Dog by Dog Park Dissidents

DBSAC by The Oozes

Know Your Enemy by Rage Against the Machine

Guerilla Radio by RAtM

One of a Kind by Weathers

ok Im giving myself one more, this has to be at least a little exclusive of a club

It's Golden Hour Somewhere by Lovejoy

4, a lyric you like

half-joke answer: "You dont mind the sex, but you mind the gender / And I am sorry for the fact that your child is a transgender" in Ready by The Oozes, that line fucks

real answer: "We are all walking eachother home" in Family by Mother Mother. see question 30 for why this lyric fucking stabs me in the chest and squeezes the feelings out of my heart.

10, how do you listen to music

crucify me but i use spotify lmao, though if that app doesnt get its shit together soon im looking at alternatives. my familys got a group subscription, so its not like im fucking over spotify by not using it, so i just go with it lmao. i usually use airpods just cause my brother has about 4 of them (killing him with a rock) and i stole them cause my earbuds broke and the spares disappeared. as soon as im able, im moving back to wired earbuds, the audio quality on these makes me wanna cry

13, playlist name without context

nickel collection

21, favorite album

you cruel, cruel god moss, you make me choose between my children yet again. ok im choosing ONE, lemme think even harder...

ok Euthanasia by Stray From the Path. theres not a single bad song here, it ramps up into fucking Ladder Work, that song is a godamned *capstone* of a song dude. it covers a lotta aspects of why the world sucks major ass, corps, cops, half-hearted liberals, the military, and it all fits together, and it all leads into Ladder Work... ok if theres one thing you take from this, please listen to Ladder Work. this album makes me wanna kill a cop, i love it so much

30, a song that makes you nostalgic

this is on the nose as hell, but Goodbye to my Friends by Weathers. Its really reminiscent of my music taste back when I was in england, where i was before my friend group became separated across 4 continents :[ its lyrics are also really accurate to how i feel about the whole thing, moving and all that. good song 0/10 makes me cry

#askkarl #mossy!

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kcyars19992 · 1 year ago

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10 CRIMINALLY UNDERRATED RAGE AGAINST THE MACHINE SONGS

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text ELI ENIS

July 11, 2022

Rage Against the Machine don't have a bad song to speak of. Throughout their four-album catalog — including 2000 covers record, Renegades — the band's winning formula of righteous, riff-slingin' rap-metal and bird-flippin' attitude aimed toward the powers that be hasn't yielded a single cut that truly feels underwhelming. Still, there're definitely several that don't get their deserved amount of time in the spotlight.

Beyond "Bulls on Parade" and "Killing in the Name," these are 10 incredible, catchy, hard-hitting, lyrically nourishing Rage anthemsthat feel criminally underrated within the general discourse about this iconic band.

"Fistful of Steel"

Rage Against the Machine's 1992 debut is their most universally beloved release, so there aren't too many songs on this front-to-back masterpiece that truly don't get their shine. "Fistful of Steel," however, is one that gets sometimes lost in the outstanding shuffle. It doesn't have a signature one-liner or an animalistic breakdown — just a great riff with plenty of meat on its bones and a groove that swings like a pickaxe hitting cold, hard dirt.

"Township Rebellilon"

"Township Rebellion" is another overlooked deep cut from their self-titled album that's every bit as heavy and incisive as the celebrated bangers that precede it. Its instructive refrain — "Why stand on a silent platform?/Fight the war, fuck the norm" — is a salient retort to anyone who questions the band's productive feistiness. And that screamed climax is chilling.

"Down Rodeo"

Rage's second album, 1996's Evil Empire, boasts one of their most iconic anthems, "Bulls on Parade," but overall, the record is less immediate and more cerebral than their debut, with instrumentation that's built to serve de la Rocha's increasingly dense rapping, and therefore features less of Morello's hard-rock riffing. It can get glossed over for that reason, which is unfair to a funky all-timer like "Down Rodeo," featuring what's perhaps de la Rocha's deepest-cutting lyric — "These people ain't seen a brown-skin man since their grandparents bought one."

"Wind Below"

"Wind Below" is an even more criminally overlooked piece of gold from Evil Empire. Morello's ringing lick sounds like John Carpenter murder scene music, while Tim Commerford's bassline sounds aqueous, bubbly and melt-in-your-speakers sexy. Of course, de la Rocha is up there rapping presciently about trade deals that fucked over workers and calling out corporations like "ABC's new thrill rides of trials and lies."

"No Shelter"

Beyond being a kickass song that sits nicely between the elastic funk of Evil Empire and the hair-whipping rock of the Ballad of Los Angeles, "No Shelter" might be the greatest protest maneuver the band have ever pulled off. It was written for the soundtrack of the 1998 Godzilla film, but rather than submitting a vapid banger to soundtrack reptilian carnage, the track is a vicious takedown of corporate cinema, decrying "the thin line between entertainment and war" and even going so far as to call out the film cutting the check — "Godzilla, pure mothafuckin' filler/To keep ya eyes off the real killer." Righteous.

"Born of a Broken Man"

On 1999's the Battle of Los Angeles, Rage's third and final album of original material, they leaned into many of the more accessible hard-rock elements of their debut, penning stadium-ready rippers like "Guerilla Radio" and "Sleep Now in the Fire" that understandably became fan favorites. "Born of a Broken Man" should be, too. The way de la Rocha's whispery verses explode into full-throated yells when the main riff detonates is utterly thrilling, and the dynamics of this song overall are some of their most subtle and musically rewarding.

"New Millenium Homes"

With a front half as energetic and anthemic as the Battle of Los Angeles', it's no wonder that the album's more subdued side B gets overlooked in the grand scheme of their catalog. That's too bad, because a track like "New Millennium Homes" has the funky-ass riff, catchy-ass delivery, and incendiary lyrics — "Violence in all hands/Embrace it if need be" — to compete with the likes of "Testify" and "Know Your Enemy."

"Ashes in the Fall"

The next song on Battle might be even better. The freaky delay on Morello's squeaky lick gives it a psychedelic, alien-like effect, and the drumming has a jazzy freeness to it that isn't common in Rage songs of this era. Morello goes full Hendrix as the song builds with a jittery unpredictability, and de la Rocha offers up hip-hop meta-ness with his repetition of, "This is the new sound/Just like the old sound." It's a bit experimental, and it pays off.

"Street Fighting Man"

While Rage Against the Machine and the Rolling Stones certainly emanate similar levels of swagger and have a shared love of the blues, the former were always more interested in providing a soundtrack for property destruction than the sex-and-drug-filled parties of the latter. Therefore, it was the Stones' protest jam, "Street Fighting Man," that Rage gravitated to for Renegades. Of all the heavy transformations on the covers LP, the band are content to just boogie here, resulting in one of their most purely fun rippers.

"Darkness"

Before Rage Against the Machine reworked and re-recorded it for the soundtrack to Nineties goth touchstone The Crow, "Darkness" was known as "Darkness of Greed" and appeared on the L.A. political firebrands' 1991 demo tape. But even before that, it was played live in a rawer, more uptempo form by de la Rocha's O.C. hardcore-punk band Inside Out. While still characteristically scathing and seething, Rage's version features a uniquely mellow and jazzy verse instrumentation, making for a true standout.

Rage Against the Machine

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omegaplus · 1 year ago

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