#Jacob Kasher

[sinceileftyoublog]

Cursive Interview: Be More Eclectic

Cursive at Riot Fest 2024

BY JORDAN MAINZER

"I saw our future and I want to go back," sings Tim Kasher on "Consumers", a standout track from Devourer, Cursive's first album in 5 years and their Run For Cover debut. The line, and song in general, feels especially prescient today, given the results of this week's U.S. Presidential Election; "A billboard sells the rich to the poor," he sings earlier. It's also exemplary of the Omaha sextet's continued ability to deliver big ideas. If early albums like Domestica and The Ugly Organ took the structure of a concept album to communicate their grandiose themes, Devourer expands its reach to other genres and mediums, namely horror, to understand the world we live in. The band has said the album's title refers to consumption, in multiple denotations and connotations of the word, from our taking in of art and online spheres to literal eating. In other words, while watching films, listening to music, and reading books is nurturing, engaging in self-righteous echo chambers can be harmful. And eating and drinking is gross: "Your gut's an old garbage can / Liver's a purple bruised punching bag," Kasher sings on the forward-lurching math rock of opener "Botch Job".

When Devourer presents surreal or heinous imagery, you're more horrified by the context behind it. On "The Avalanche of Our Demise", the narrator can't fit the titular disaster, or recognizing the climate crisis in general, into his busy schedule. "Never mind the ticking clock / Besides, you’re totally swamped today," Kasher sings. “Life’s an abscess or apple pie / So shut those demons up / And devour your slice,” he sneers on "Bloodbather", his vices overtaking his desire to self-improve, Pat Oakes' drums propelling the song along as if to encourage Kasher like the devil on his shoulder. On "What Do We Do Now", a beached whale ends up on a neighbor's curb, and the narrator is mostly concerned with reporting it to his homeowner's association. Throughout Devourer, the characters attempt to reconcile their own importance with that of the world at large, man and nature. We can see they'll eventually come up empty.

Of course, the band itself, especially on stage, continues to blare inspirationally. At this year's Riot Fest, they performed the Devourer songs expressively, Patrick Newbery banging on the keys during "Botch Job". They had played Reggie's the night before, their first time playing "Bloodbather", "Imposturing", and "Up and Away", and the first two of those got a blistering Riot Fest treatment the next day. Still, at the festival, with Devourer out for a mere week at the time, Cursive prioritized older material, which sounded just as urgent. After a plea with the crowd to vote, Kasher yelped throughout "Dorothy at Forty", Newbery's horns and Megan Siebe's cello the chaos elements. When Kasher announced how excited he was to see Mastodon and Slayer, for a moment, you could view them as three loud, rhythmically complex bedfellows.

I caught up with Kasher after Cursive's set for an interview, during which we discussed Devourer, playing live, horror films, and social media. (Halfway through the interview, fittingly, Lamb of God's set started, a sonic explosion in the background.) Tomorrow night, Cursive plays Empty Bottle; I can't think of a better place to channel post-election rage than screaming along to songs from an album whose twisted world may soon resemble our reality.

Read our conversation below, edited for length and clarity.

Since I Left You: Was last night the first time you played the new songs live?

Tim Kasher: Three of them, yeah. There are two songs off the record we toured around last year, but that's it.

SILY: Was the approach to adapting them to a live stage any different than for the songs from your previous records?

TK: It was an interesting week of rehearsals. It occurred to us, looking at one another, that we prepped them for the studio but didn't know how to play them live. Despite us having a lot of instrumentation and getting a little ornate, we also have six band members, so we have a cello, trumpet, and keys with us. We're actually able to pull off quite a bit of what we do on the album live. It's not verbatim, but that's also not necessary. We're not really interested in that. So over the week of rehearsals, we were making those executive decisions, of why things would work better certain ways, little things here and there. I think they translate pretty well.

SILY: Marc Jacob Hudson, who co-produced it, also does your live sound. Did that help?

TK: Yeah, I think it helped a ton. We kind of had organic pre-production. We wouldn't even call it pre-production; it was literally just us sitting on the bus talking about music, talking about the record, getting ready together to ask ourselves, "What do we want to do? What do we want to get out of this? What do we want it to sound like?" Marc was awesome. He really came across as an additional member, which is the best way to feel about a producer.

SILY: You didn't do a typical record release show, but you presented the album and its music videos in 5.1 Dolby Surround Sound. It's a cool way to present something as artistically intended in a format that not everybody has access to.

TK: I'm proud of how it all turned out, just because it was kind of ambitious. Doing the 5 genre videos was ambitious. It was a lot of extra work we didn't need to do. As recently as the last couple albums, we had kind of a negative attitude about the videos, because you put all this money and labor into it, and it just sits on YouTube, and what's the big deal? This time around, we had this initial cocktail napkin idea of doing a lot of horror genre videos. I've gotten to know a decent amount of horror directors, so I thought I would reach out to see if they were interested. The responses were awesome, so we decided to do it. We did a real 180 and embraced videos this time. Because we did 5, and made them not just promo material but their own thing, with VHS tapes, it's its own project, connected to the album, but different to the album. We did lyric videos for the rest of the songs. I'm really excited about it. Ultimately, we're going to have them all up on YouTube, and I'd encourage people to consume it in that way. If you want to put it on your TV and watch, it's not the worst idea.

SILY: The album is very cinematic, and my favorite type of horror films are, at their heart, social tales that use horror to say something else. Similarly, on this record, you use horrific imagery to talk about climate anxiety and late capitalism. Was that your intention going into it?

TK: I'm still figuring that out. [laughs] When a record comes out, it's an opportunity for me to start understanding a little bit better what the record is about. Everybody is taking it in and giving me their reactions, which informs me. I wanted this album to be more eclectic. I put some extra effort into listening to the whole catalog, and it reminded me that 20-25 years ago, our MOs was to be eclectic. We didn't want to put out a heavy album, pop album, or mellow album. The last few Cursive records--and it's not a bad thing--lean pretty heavy, which is my growth as a writer getting more excited about louder, heavier music. I want to be a part of it. When I was listening to this album, thinking what it was about, what the title should be, I kept thinking to myself, "Damn, this is still pretty aggressive, loud, and angry, so thankfully we have these eclectic, poppy, quiet songs. But this is more pissed off than I realized it was." An early album title I had for it was Bruiser because the album seems like a bully to me. It's got a bad attitude. Devourer ended up being a variation on that. It's the type of title that does fit in with the horror genre. The best analogy is humanity devouring this planet, but with the artwork, I think of it in more sci-fi and horror elements, or a suggestion of the planet turning on us.

SILY: As much as the album sounds hard and heavy, you have the horns and cello to balance it out. You might be the only band with a cello to ever play Riot Fest.

TK: I don't know. I bet not.

SILY: It took me until yesterday to see an acoustic guitar. Horns, though, there's enough ska here to go around.

TK: [laughs]

SILY: I really like the line at the end of "The Avalanche of Our Demise" where you're talking about the apocalypse having to wait because you're too swamped. I feel like the album has a lot of themes of you balancing personal crises with the world's crises. Is that something you think about pretty often?

TK: A song like that gets pretty snarky. I'm not being hard on any specific person, but on a lot of social media, there's a lot of virtue signaling. You see a lot of, "I'm really down for the cause, and I've got some time between 11 and 2 on Saturday." There's hypocrisy in all of us, me included. It's important people understand I'm wagging the finger at myself. I don't want to be like that, but sometimes, you're slammed, and you mean well, but you're coming across like a fucking asshole.

SILY: You touch on that on "Imposturing" as well.

TK: I probably shouldn't be too hard on myself...I just don't want to be virtue signaling, myself.

SILY: I love the image of a beached whale on a sidewalk curb on "What Do We Do Now", how you're worried about what the HOA will think. You do have to laugh at it all. You can have these genuine feelings of concern and empathy for causes while also recognizing that people often post on social media out of the desire to gain social capital.

TK: I wanted to go surreal with that song. I was imaging, "What if some of the world's big crises landed at your doorstep?" How would people react?

SILY: Do you foresee these songs evolving as you play them live?

TK: Absolutely. There's already songs that I think were a little bit too slow on the album.

[lyrasky]

Morgan Wallen【Last Night】和訳 解説 未練タラタラソング Hit It and Quit It

Morgan Wallen【Last Night】和訳 解説 未練タラタラソング Hit It and Quit It Lyraのブログへ #MorganWallen #lastnight #モーガンウォーレン #onenightstand #MileyCyrus #OneThingataTime #hitandquitit #JohnByron #AshleyGorley #JacobKasherHindlin #RyanVojtesak #BillyRayCyrus #country #onenightloveaffair

こんなロングランヒットになるとは驚きや！今日は、本国アメリカで驚きの大人気ぶりを発揮しているMorgan Wallenを取り上げましょう〜♪ って、これまた2月にリリースされた時に和訳したまま放置していたの〜その間にNo.1なっちゃって。まだまだ1位をキープしそうなビッグヒットになっています。 カントリー歌手としてデビューから大人気のMorganだが、彼の歌い方って(と言うか声質)私が慣れ親しんできたGrunge RockやHard…

[jules-has-notes]

Aca Top 10: Hits of 2019 — VoicePlay music video

It had been a while since their last "Aca Top 10" countdown, and even longer since their previous celebration of recent hit songs, so VoicePlay decided to close out 2019 with a medley featuring the year's biggest bangers.

Details:

title: Aca Top 10 – Hits of 2019

original songs / performers: "Good As Hell" by Lizzo ; [0:29] "I Don't Care" by Ed Sheeran & Justin Bieber; [0:48] "Me!" by Taylor Swift, feat. Brendon Urie; [1:08] "7 Rings" by Ariana Grande; [1:34] "Memories" by Maroon 5; [1:54] "Someone You Loved" by Lewis Capaldi; [2:16] "Sucker" by the Jonas Brothers; [2:30] "Bad Guy" by Billie Eilish; [2:44] "Señorita" by Shawn Mendes & Camila Caballo; [3:17] "Circles" by Post Malone; [3:47] "Old Town Road" by Lil Nas X & Billy Ray Cyrus

written by: "Good As Hell" by Melissa "Lizzo" Jefferson & Ricky Reed; "I Don't Care" by Ed Sheeran, Justin Bieber, Max Martin, Karl "Shellback" Schuster, Fred Gibson, & Jason Boyd; "Me!" by Taylor Swift, Joel Little, & Brendon Urie; "7 Rings" by Ariana Grande, Victoria Monét, Tayla Parx, Tommy Brown, Charles Anderson, Michael Foster, Njomza Vitia, & Kimberly Krysiuk; "Memories" by Adam Levine, Jonathan Bellion, Jacob Kasher Hindlin, Michael Pollack, Jordan K. Johnson, Stefan Johnson, & Vincent Ford; "Someone You Loved" by Lewis Capaldi, Samuel Romans, Thomas Barnes, Peter Kelleher, & Benjamin Kohn; "Sucker" by Ryan Tedder, Louis Bell, Mustafa Ahmed, Adam Feeney, Homer Steinweiss, & the Jonas Brothers; "Bad Guy" by Billie Eilish & Finneas O'Connell; "Señorita" by Shawn Mendes, Camila Cabello, & Alexandra Tamposi; "Circles" by Austin Post, Louis Bell, Adam Feeney, Kaan Gunesberk, & Billy Walsh; "Old Town Road" by Montero "Lil Nas X" Hill, Trent Reznor, Atticus Ross, & Kiowa Roukema

arranged by: Geoff Castellucci

release date: 30 December 2019

My favorite bits:

the little slides Earl puts on the beginning of ♫ "Ooh, child!" ♫ and ♫ "Yeees, Lord!" ♫

Eli and J.None following the direction to ♫ "dust your shoulders off" ♫

Geoff's subharmonic drop at the end of ♫ ⇘ "out the dooo-ooo-OOOOR" ⇘ ♫

J's smooth tone for the melody in "I Don't Care"

the high fanfare Earl gives to the transition

Eli's clear timbre on the lead for "7 Rings"

Layne's coquettish expression and J.None's finger twiddle to illustrate ♫ "getting in trouble" ♫

making it rain drizzle, and Geoff's confused expression when one of the bills lands in his lap 💸

the lovely three-part harmony on ♫ "write my own checks like I write what I sing" ♫

Layne joining in on the harmonies for "Memories" and "Someone You Loved"

Earl getting softer as he looks at suddenly melodramatic Eli in confusion 🤔

J.None showing off his falsetto at the beginning of "Sucker"

the stacatto repetition of ♫ "you you you" ♫

all the vocal antics as they bounce through "Bad Guy"

the combination of bouncy descending bass line and woodblock sounds Geoff and Layne do in "Señorita"

J.None indugling in a little cha-cha groove during the chorus 🕺

Earl's incredible tremolo in "Circles" (How does he DO that?!)

Eli slipping in a quick Ennio Morricone western movie sting

putting a little extra twang into their "Old Town Road" vocals

that fabulous descending riff on the second half of ♫ "guitar" ♫

return of the animated carrot for horsey Layne 🥕 🐎

Trivia:

○ The guys had previously recorded other versions of several of these songs, one together, and the rest with different performers.

"Bad Guy" was included in VoicePlay's "Billie Eilish in 3 Minutes" medley that was part of their spooky season offerings for the year.

It was also covered by PattyCake's incarnation of Maleficent to coincide with the release of Disney's live-action film sequel.

J.None had filmed multiple edutainment parodies with his friend Nikita for her JamSchooled series that were released both before and after this one. "7 Rings" became a lesson about money; "Old Town Road" turned into a tutorial on skeletal anatomy; and "Señorita" morphed into a rundown of ecosystems.

○ Lizzo's video for "Good As Hell" celebrates her history as a flute player in the school marching band. The members of VoicePlay are talented insturmentalists in their own rights.

Layne has been playing violin since he was four years old, primarily studying the Suzuki method, and was a member of the Florida Symphony Youth Orchestra. He also learned a bit of piano from his mom, and knows enough drum kit technique to convincingly mime while he beatboxes.

Geoff has played piano since middle school, studying both classical and jazz techniques. He also knows a little guitar, and learned to play the harmonica for a stint in the Blues Brothers show at Universal Studios.

Earl played trumpet and french horn through middle school and high school band.

Eli plays a bit of both piano and guitar, some of which he honed during his days in various rock bands.

J.None plays a number of instruments "passably" but doesn't consider himself proficient in any of them. They include piano, violin, guitar, accordion, saxophone, and clarinet.

○ The main melody of "Memories" contains a very recognizable portion of Pachelbel's "Canon in D", which (surprisingly) hasn't yet been included in any of VoicePlay's classical pieces or mashups.

[lesbianmikenesmith]

Okay first up, Big Time Rush

Background info to consider below:

Longevity: first run 2009 to 2014, reunion 2020 to present.

Plot of the show: "It focuses on the Hollywood misadventures of four hockey players from Duluth, Minnesota, Kendall Knight, James Diamond, Carlos Garcia, and Logan Mitchell after they are selected to form a boy band by fictional mega music producer Gustavo Rocque.

Plot of the movie: Big Time Movie is a 2012 musical comedy television film based on the Nickelodeon television series, Big Time Rush and the songs of The Beatles. It features the members of Big Time Rush visiting London for their world tour, where they also have to save the world.

Audition: The Audition process took two years. They did four national casting tours where they went to six or seven major cities from LA to New York to Florida to Texas. More than 1,500 teenagers/young adults auditioned.

Music: Their music has been described as a cool blend of synth-pop, hip-hop, and boy-band harmonies

The song "Oh Yeah" from their debut album was written by Kevin Rudolf, Jacob Kasher, and all four members of BTR themselves. While most tracks were typically pre-written and received minimal input from the band themselves, the writing session for "Oh Yeah" was the first time they were able to help craft the lyrics and melodies.

Public Perception: Because the group is associated with the TV series and children's network Nickelodeon, they have been presented as a "child-friendly" group

Influence: They have been credited as the pop group that have once again restored creditably, relevance, and for relaunching boy bands back into the public eye once again.

[my-chaos-radio]

Release: September 20, 2024

Lyrics:

I don't know what a heart like mine

Was doin' in a love like that, ahh-ah

And doin' in a love so bad

But I know, I know, I know, I know now

I don't know what a woman like me

Was doin' with a man like you, ooh

But now I got a love so true

But I know, I know, I know, I know crazy

Now that I found the real thing

You don't compare

And I don't care

You're somebody else's

And it doesn't even break my heart

You're somebody else's

And I pray for them, whoever they are

Oh, every day with you is rock bottom

Leavin' you saved me, my god

Look at me blossom

You're somebody else's problem

I didn't know that somethin' so fake

Could really make it hurt so real, ahh-ah

And how'd you go and make it feel

Like my fault, my fault, my fault, my fault, wow

If I could go back in time

I would erase you, ooh-ooh

But I could never go back there

I might be wild, but I ain't that crazy

Now that you're dead to me

I feel so alive

And you're not mine

You're somebody else's

And it doesn't even break my heart

You're somebody else's

And I pray for them, whoever they are

Oh, every day with you was rock bottom

Leavin' you saved me, my god

Look at me blossom

You're somebody else's problem

You're somebody else's (somebody eles's)

You're somebody else's

Narcissistic, semi-psychotic

So manipulated I bought it

Every time, but not this time

You gaslit my world, it was burning

Had to leave before it stopped turning

So happy I could cry

'Cause you're not mine

Songwriter:

You're somebody else's (somebody else's)

And it doesn't even break my heart

You're somebody else's (somebody else's)

And I pray for them, whoever they are

Oh, every day with you was rock bottom

Leavin' you saved me, my god

Look at me blossom

You're somebody else's problem

Fred Ball / Gwen Stefani / Henry Walter / Jacob Kasher Hindlin / Jake Torrey / Madison Love / Nick Long

SongFacts:

👉📖

Homepage:

Gwen Stefani

[ourpickwickclub]

It’s the same team as True babe. Jack and coke. Jacob Kasher, Nicole Rubio. 😑

.

[seoul-italybts]

[✎ TESTO ♫ ITA] JIMIN⠸ ❛ Be mine (english version) ❜⠸ 02.08.24

[✎ TESTO ♫ ITA] JIMIN - MUSE

♪♫•¨•. Be mine (english ver.) .•¨•♫♪

SCRITTA DA: Jimin, Ali Tamposi, EVAN, GHSTLOOP, Jacob Kasher Hindlin, PDogg, Ryan Tedder

PRODOTTA DA: PDogg, GHSTLOOP

Ballando, sto arrivando, amando, sì sì sì

Ballando, sto arrivando, amando, sì sì sì

Ballando, sto arrivando, amando, sì sì sì

Ballando, sto arrivando, amando, sì sì sì

Se io fossi un'isola

Tu saresti la festa

So cosa vuoi

E, tesoro, lo voglio anche io

Ci amiamo fino al mattino

Sempre più innamorati

Questo tipo di connessione

È autentica quanto il DNA

Tesoro vieni, tesoro vieni

Mostrami cos'è

Mostrami cos'è l'amore, sì sì

Guardaci, guardaci

Mentre ci lasciamo trasportare dal momento

Gli amori vanno e vengono

Entrano e poi lasciano il mio cuore

L'unica cosa che so

È che voglio stare dove sei tu

Oh no, tesoro, non lasciarmi qui nell'oscurità

Voglio farti miə

Voglio farti miə

Voglio tu sia miə...

Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Voglio farti miə Voglio tu sia miə...

Non ti preoccupare

Segui i miei passi

Lasciamo parlare le emozioni

Non c'è altro da dire

Tesoro vieni, tesoro vieni

Mostrami cos'è

Mostrami cos'è l'amore, sì sì

Guardaci, guardaci

Mentre ci lasciamo trasportare dal momento

Gli amori vanno e vengono

Entrano e poi lasciano il mio cuore

L'unica cosa che so

È che voglio stare dove sei tu

Oh no, tesoro, non lasciarmi qui nell'oscurità

Voglio farti miə

Voglio farti miə

Voglio tu sia miə...

Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Voglio farti miə Voglio tu sia miə...

Non forzare questi sentimenti

Fai con calma

Ballando al chiaro di luna

Tutta la notte

Se hai dubbi sul mio amore

Lascia perdere

Voglio farti miə

Voglio farti miə

Voglio tu sia miə...

Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Ballando, sto arrivando, amando, sì sì sì Voglio farti miə Voglio farti miə Voglio tu sia miə...

Ballando, sto arrivando, amando, sì sì sì

Ballando, sto arrivando, amando, sì sì sì

Ballando, sto arrivando, amando, sì sì sì

Ballando, sto arrivando, amando, sì sì sì

⠸ ita : © Seoul_ItalyBTS⠸ Twitter

[xasha777]

In the dimly lit laboratory of Dr. Jacob Kasher Hindlin, a renowned geneticist on the edge of ethical science, the air was thick with anticipation and the faint hiss of machines. His latest creation, the Tri-Serpent, an amalgamation of advanced genetics and robotics, coiled in the center of the room, its three heads surveying its surroundings with unnerving intelligence.

The creation was more than a scientific marvel; it was a masterpiece of synthetic biology, each scale perfectly crafted, each eye a camera lens capable of infrared and ultraviolet vision. Dr. Hindlin, a man whose ambition dwarfed even his formidable intellect, had designed the Tri-Serpent to be the ultimate surveillance tool, capable of operating in environments no human or conventional machine could withstand.

As the world outside continued to grapple with the fallout of climate change and dwindling resources, the Tri-Serpent was his solution to exploring and surviving in the harshest environments, from radioactive wastelands to the deepest oceans. Its bodies were intertwined, a symbolic and functional choice, reflecting the unity of the three branches of artificial intelligence it housed—analysis, survival, and defense.

One evening, as the fluorescent lights flickered and shadows danced along the walls of the lab, Dr. Hindlin's assistant, Mara, observed the creature with a mixture of fear and fascination. She had her reservations about the ethical implications of their work but knew better than to voice them outright. Instead, she monitored its responses, taking notes on its behavioral patterns.

Suddenly, the central head of the Tri-Serpent tilted, its eyes locking onto a small, concealed panel in the wall. In a flash of movement, the head extended, sensors analyzing the hidden compartment. Inside was a data drive, long forgotten by the previous occupants of the lab, containing classified information about other experimental projects, some of which had questionable outcomes.

Dr. Hindlin, alerted by the serpent's discovery, rushed over. His mind raced with the possibilities of what the drive could contain. Could this be the breakthrough needed to advance his research further? Or did it hold secrets that were better left undiscovered?

As he inserted the drive into his console, the Tri-Serpent hissed softly, almost as if it sensed the significance of the moment. The screen flickered to life, displaying files of experiments that surpassed even Hindlin's understanding of genetic manipulation. The implications were staggering, and for the first time, Hindlin felt a chill of fear run through him. What had he stumbled upon? And more importantly, was he ready to face the consequences of this knowledge?

The Tri-Serpent, a mere observer until now, suddenly seemed like an ominous presence in the lab. Had Hindlin created a tool for discovery, or had he unleashed something far beyond his control? As he delved deeper into the data, the serpent watched, its three heads an eerie embodiment of the past, present, and future, intertwining yet distinct, each holding a key to a different realm of possibilities and dangers.

Thus began the next chapter in Dr. Jacob Kasher Hindlin's journey, a chapter filled with dark revelations and decisions that would determine not just the course of his own life, but potentially the fate of the world itself.

[foxes-that-run]

Perfect

Zayn said he wouldn’t buy the record when he heard Perfect (so salty!). Harry's emotions varied performing it in its short 27 performance run from Oct-Dec when 1D ended. These 2 stand out:

November 20 2015, rather than sing the Bridge Harry said to the crowd "if you think it's so funny you can sing it".

3 days later at the AMAs he rolls his eyes and looks ready to walk out, the camera cuts to a kid who seems to agree. (Bridge is 2:40).

It was only performed 6 more times, in Carpool Karaoke (10:30) Harry stops singing for parts and the song cuts before the bridge, at the Jingle ball he looks away and the last time was new years.

Or this concert he put the mike into the crowd, someone stole the microphone and licked it.

Safe to say he regretted that bridge, it's savage to them both.

Writers

Perfect ties with Fools Gold for the title of the Haylor song with the most writers, at 7. While Fools Gold has all 5 of the band, Bunetta and Ryan. Harry and Louis are the only band members who worked on Perfect with Bunetta, Ryan and 3 others:

Jesse Shatkin, (cowrote Sia's Chandelier)

Jacob Kasher (Maroon 5 collaborator), and

Mozella (cowrote Miley Cyrus Wrecking Ball and Fools Gold.)

To me, Perfect has more media grabbing pop-song than Harry Styles. HS’s best 1D work was with teams of 3 or 4 writers. In fact, Bunetta said Olivia came out in 45 minutes while overworking another "less good" MITAM song.

Timeline

To the And the Writer is podcast Julian Bunetta said it was started at his first writers camp in Palm Springs 2 weeks before Coachella. Harry was MIA in LA 7 - 11 April 2015, then seen in Palm Springs:

[at 6 mins] We are in Palm Springs, the sixth writing camp that we've done in Palm Springs. The first time we ever did this, it was actually sort of half a ploy to get just the ultimate Coachella house and have someone else pay for it. So we achieved that. Yeah, so it was a One Direction one which you came to. And yeah, so we'd have it for two weeks right and at the end of that it would be the festival and then all our friends from LA would come up and stay in this ridiculous house. But it yielded just more than just songs. It was just so much fun and so much camaraderie and so many intimate relationships and we got some hits out of it too. So it worked, so we did it again and it worked again. […later at 1 hour] And then Perfect comes out, which was written at Palm Springs Writing Camp. The nucleus of it started at the first one, yeah.

Bunetta also told Rolling Stone about Perfect:

"That one took a long time, just because it was written over a couple different continents. It started as one thing and ended up where it is."

It could have been started 'as one thing' in April before the BBMAs other songs that reference Style including Two Ghosts started early in the year. The "ended up where it is" with those writers would be after the BBMAs, when they got back to the USA from July. This would be at the end of the album and he was singing it daily within 3 months.

Similarity to Taylors songs

It has the same chord progressions as Style and is also very similar to out of the woods as this video on Twitter shows. He called it a love song in the made in the AM interview (6 mins) and that it wasn’t literal in another. I do love this James Cordon bit and I love his Taylor smile so much.

Lyrics

[Verse 1: Louis] I might never be your knight in shinin' armour I might never be the one you take home to mother And I might never be the one who brings you flowers But I can be the one, be the one tonight

Grapejuice, has the perfect (get it) call back to this verse, along with 'Red' and 'Pay for it' and I love him for it:

"I was on my way to buy some flowers for you (ooh) / Thought that we could hide away in a corner of the heath / There's never been someone who's so perfect for me / But I got over it and I said / "Give me somethin' old and red" / I pay for it more than I did back then"

[Pre-Chorus: Liam] When I first saw you from across the room I could tell that you were curious, oh, yeah Girl, I hope you're sure what you're looking for 'Cause I'm not good at making promises

Promises come up again in Woman "Promises are broken like a stitches is", which is interesting if both Woman and part of Perfect are written after the 2015 BBMAs.

‘Know what you are looking for’ is interesting. In "Say don't go" and the 1989 TV Vaults in general Taylor did not get what she was looking for. At 23, dating a 19 year old Taylor told us she didn’t get wavy she needed. Her most recent ex, JG was 29. (yes - JG was the age Harry is now! Imagine if he did that) So I kind of stand by this line.

The start refers to the night they met. Which neither has ever confirmed, I think it was in 2011 (see timeline) Many look at the coat he tries on in the music video, which matches both his Up All Night Tour outfit (from December 2011) and the 2012 Kids Choice Awards. The awards are fun though. The Up All Night DVD also has it.

[Verse 2: Niall] I might never be the hands you put your heart in Or the arms that hold you any time you want them But that don't mean that we can't live here in the moment 'Cause I can be the one you love from time to time

Urgh I choose to attribute 'love from time to time' to one of the 6 other people writing this. To me this line always sounds like a boy-band heartthrob priority playing out in the writers room. No wonder it took time and HS1 to overcome this.

However, this does speak to a theme of them not being available to each other because of their careers and 1D punishing schedule. If I could fly's "I'm missing half of me when we're apart" and Half the World Aways " So you're not my girlfriend / Don't pretend that makes us nothing / Tell me you don't miss this feeling" speaks more honestly to the interplay of his band image, schedules and priorities which Taylor referred to Suburban Legends.

[Chorus: Harry, All] But if you like causing trouble up in hotel rooms And if you like having secret little rendezvous If you like to do the things you know that we shouldn't do Then, baby, I'm perfect Baby, I'm perfect for you And if you like midnight driving with the windows down And if you like goin' places we can't even pronounce If you like to do whatever you've been dreamin' about Then, baby, you're perfect Baby, you're perfect So let's start right now

Here are Haylor themes we know and love, Driving at midnight (Style, HYGTG, Wish You Would) generally going from a high schooler to superstar overnight (placed they can’t pronounce like Cannes), and hidden love/hiding (I Know Places, Slut!)

[Bridge: Harry] And if you like cameras flashin' every time we go out Oh, yeah And if you're looking for someone to write your breakup songs about Then baby, I'm perfect And baby, we're perfect

The camera’s flashing is good imagery and his voice brings to life how personally challenging it was for them both in a way I Know Places didn't with very few words. Taylor also refers to this imagery in Is it over now?

But the break up songs is a low blow and I assume the part he regretted to the point of not wanting to sing it. In a later interview Harry said:

“The only time you really think, ’is this song too personal?’ is if you think about, ‘is this going to be really annoying for the other person?’ Because I do [care],” he finished.

Which I think the break up song line would have been very annoying.

If you made it through that reward yourself with Grapejuice at Wembley 🍇

[blogtozone]

Perfect Piano Notes | Ed Sheeran

Perfect Piano Notes

Notes :-  I found a love, for me D4# F4 G4# G4#, C5 A4# G4# C5 Darling, just dive right in and follow my lead A4# C5 C5 C5 A4# G4# G4# G4# A4# C5 A4# Well, I found a girl, beautiful and sweet C5 A4# G4# C5 A4# G4#, D5# C5 A4# G4# G4# Oh, I never knew you were the someone waiting for me G4# A4# C5 C5# C5# C5 A4# A4# G4# G4# A4# C5 A4# C5 'Cause we were just kids when we fell in love D5# D5# D5# F5 C5 A4# C5 C5 C5 Not knowing what it was C5 A4# G4# C5 C5 C5 I will not give you up this time C5 A4# G4# C5# C5 A4# G4# D4# C5 C5# C5 A4# But darling, just kiss me slow C5 A4# G4# C5 C5 C5 Your heart is all I own C5 A4# G4# C5 C5 C5 And in your eyes, you're holding mine C5 A4# G4# C5# C5 A4# G4# D4# A4# G4# A4# Baby, I'm dancing in the dark D5# C5 A4# G4# G5# G5 F5 G5 C5 With you between my arms D5# C5# C5 A4# G4# Barefoot on the grass G5# G5 F5 G4# C5 Listening to our favourite song D5# D5# D5# D5# F5 C5 A4# G4# When you said you looked a mess C5 D5# G5# G5 F5 G5 C5 I whispered underneath my breath But you heard it G4# A4# C5 D5# C5# C5 C5# C5 A4# C5# C5 Darling, you look perfect tonight G4# A4# C5 A4# A4# G4# G4# G4#

About Song :-

"Perfect" is a romantic pop song by English singer-songwriter Ed Sheeran. It was released on September 26, 2017, as the fourth single from his third studio album, "÷" (Divide), which was released earlier that year. The song received widespread acclaim and became one of Ed Sheeran's biggest hits. Here is some information about the song: Artist: "Perfect" is performed by Ed Sheeran, who is known for his heartfelt and relatable songs. Composition and Lyrics: Ed Sheeran co-wrote and co-produced "Perfect" with Will Hicks, Benny Blanco, and Jacob Kasher. The song is a beautiful love ballad that tells the story of a perfect and enduring love. The lyrics are filled with romantic imagery and heartfelt emotions. Success: "Perfect" was a commercial and critical success. It topped the charts in several countries, including the United Kingdom, the United States, Canada, and Australia. The song also received numerous awards and nominations. Wedding Anthem: Due to its romantic and heartfelt lyrics, "Perfect" became a popular choice for weddings. Many couples have used it as their wedding song for the first dance. Music Video: The music video for "Perfect" was released on November 9, 2017, and it features Ed Sheeran himself. It was filmed in the Austrian Alps and depicts a romantic winter love story. Live Performances: Ed Sheeran has performed "Perfect" at various live events and concerts. The song is often a highlight of his live shows and is known to resonate deeply with his fans. Chart Performance: "Perfect" spent multiple weeks at the top of the charts in various countries and was certified multi-platinum in many of them. It also received a Diamond certification in the United States for selling over 10 million copies. Impact: "Perfect" is considered one of Ed Sheeran's signature songs and is a testament to his songwriting and storytelling abilities. Its enduring popularity has made it a timeless love song. Overall, "Perfect" is a heartfelt and beautifully composed love song that has captured the hearts of many listeners worldwide. It remains a popular choice for romantic occasions and is one of Ed Sheeran's most iconic tracks. Read the full article

[suseetrends]

Stuck Song Lyrics English Video – Thirty Seconds To Mars

Stuck song lyrics penned by Jared Leto, Jacob Kasher, Ammar Malik & John Ryan, music composed by Concord Records, and sung by Thirty Seconds to Mars from the movie Thirty Seconds To Mars – Stuck (Official Video).

<< enjoy song with lyrics >> here

Jared Leto‘s Thirty Seconds to Mars Returns with Electropop Single “Stuck”

Jared Leto’s band, Thirty Seconds to Mars, has made a long-awaited return with their first original song in five years. Titled “Stuck,” the track showcases a departure from their traditional rock sound, leaning more towards an electropop direction.

As the lead single from their upcoming sixth studio album, It’s the End of the World But It’s a Beautiful Day, the release has sparked excitement among fans and critics alike.

[kmp78]

Jared Leto is multi-talented entertainer, producing and writing “Stuck” alongside John Ryan and Ammar Malik. Shannon Leto and Oscar Neidhardt are also acknowledged as co-producers, and the other writer of the song is Jacob Kasher. Lots worked on this song.

If you wanna believe that... 🤭

[narrie]

looking at the songwriting credits is crazy because how did one of the Jimmy Napes songs actually make it or the Jacob Kasher one like both were so early in the album making process from memory I thought neither would make it, I also kinda thought the Caroline Ailin one wouldn’t make it either even though I really wanted it, also Ruel just coming from nowhere??

what's really funny to me is that julian is on 3 songs when all the girlies were celebrating his absence LMAO we'll see when it comes to producers but re: writers i'm surprised ryan tedder isn't on there and neither is anthony rossomando

[jules-has-notes]

Attention — VoicePlay music video

Love stories don't always have happy endings, and breakups aren't always the end. Relationships can be messy or even outright unhealthy for everyone involved. Luckily, some musicians are really good at conveying those complicated emotions in ways that are resonant and beautiful. In this instance, VoicePlay reunited with Rachel Potter for a screamingly catchy version of Charlie Puth's new hit song.

Details:

title: Attention (feat. Rachel Potter)

original performer: Charlie Puth

written by: Charlie Puth & Jacob Kasher Hindlin

arranged by: Geoff Castellucci & Hannah Juliano

release date: 13 July 2017

My favorite bits:

using boomwhackers in place of the opening plucked electric guitar line

that slow build of tension and harmonic layers

when the rhythm section kicks in at the beginning of the first chorus

so many crunchy harmonies and counterpoint moments

the way each of them expresses a slightly different attitude to the subject of the lyrics — Rachel's vulnerability, Eli's exasperation, Earl's frustration, Geoff's pity, and Layne's guardedness

that percussion breakdown leading into the bridge

that soaring harmonized riff on ♫ "mi-i-i-i-i-i-IIINE" ♫

everyone letting loose for the final chorus to create a glorious flood of sound

Trivia:

This video was filmed at a local tapas bar called Ceviche, which closed two years later. It was across a plaza from the Ballroom at Church Street where Layne, Earl, and Tony had filmed the castle interior scenes for PattyCake's "Beauty and the Bieber" at the beginning of the year.

There is a minor editing goof at 1:23. Eli is shown on screen, but the vocals heard are still Earl.

The silliness in the YouTube description this time is: "You've been runnin' round, runnin' round, runnin' round, throwin' that turtle on my name. Who throws a turtle? Seriously…" 🐢

Since Rachel lives in Nashville, they scheduled filming of both this video and their "Moana medley" video for the same weekend to minimize the amount of travel needed.

They got some love from buddy Chris Rupp, which earned him a little mutual appreciation.

[rotzaprachim]

Good edition! I think this is one of those times when the things people are willing to float due to antisemitism have very harmful ramifications to other communities in particular the literally hundreds of millions of people who’ve had their names taken through processes of genocide, enslavement, and forced assimilation. But as the idea relates to Jews it’s also…. Just wrong, for all the reasons you defined. Many of the conversations about Ashkenazi culture and the ways it shifted and was reformed esp in the fallout of the Shoah and the reasons people changed their surnames are simply too complex for the tumblr peanut gallery but it’s also worth noting that that person perceived the names to be Germanic or Slavic…. Not necessarily that they were.

Many of the names Ashkenazi Jews have had have been Hebrew, Aramaic, or fusional with Germanic and Slavic elements - much like the Yiddish language and Ashkenazi culture itself, which was and is a European and Semitic fusion (both those terms in quotations because they are so contingent and complex) even in diaspora in Europe. Some of those names are related to specifically Jewish professions and variants can be found throughout the diaspora - chazan, rabin/Rabinowitz, schaecter (from shohet), sofer, kasher. Others are from personal names in the patterns of local patronímics or surnames, like yakovitch (from ya’akov), solomonov, sorkin (from sore) rivkin, abramsson, Mendelsohn (from mandel which is a Yiddish version of Menachem), and people who straight up just have Jacobs or Daniel or David as a surname. So while Ashkenazi Jews don’t /need/ to have surnames of Semitic language origin to be connected to the Middle East - the surname’s linguistic origin is not part of this discussion, specifically - it’s worth noting that many of us do. And this isn’t in support of Zionism or a unilateral right to ha’aretz, but it is in support of understanding Ashkenazi culture, even in diaspora, as fusional and partly middle eastern in culture and sentiment, because I’ve been deeply uncomfortably by the need forces on Jews to wash ourselves of these connections and understandings to Hebrew or haaretz yisrael as location or cultural entity or ‘am yisrael to be “appropriately diasporist” or part of the cultural history of Europe or something? I think the fact that the Jewish culture that was so rich and important to European history as a whole was also mixed and complex and tied to its own understandings of the Middle East is important, and I think the idea that Ashkenazi Jews have to strip ourselves of the elements of our culture that are connected to the Middle East is also an ideological line of thinking that has very very bad implications for European ethnonationalism and treatment of other groups from or connected to the Middle East, including modern immigrants

I don’t think that uh “surnames are indicators of indigeneity” and “having (what I perceive to be) a Europeanized Slavic or Germanic surname is an indicator of having (what I perceive to be) solely European ancestry” is a rabbit hole we really want to go down given that one thing that oppressors do to the oppressed has been taking or rearranging and assimilating their names since basically forever

[my-chaos-radio]

Release: May 11, 2009

Lyrics:

I'll make them good girls go bad

I'll make them good girls go

Good girls go

(Good girls go)

I know your type (your type)

Yeah daddy's little girl

Just take a bite (one bite)

Let me shake up your world

'Cause just one night couldn't be so wrong

I'm gonna make you lose control

She was so shy

'Til I drove her wild

I make them good girls go bad

I make them good girls go bad

You were hanging in the corner

With your five best friends

You heard that I was trouble but you couldn't resist

I make them good girls go bad

I make them good girls go

Good girls go

(Good girls go bad)

(Good girls go)

I know your type (your type)

Boy you're dangerous

Yeah you're that guy (that guy)

I'd be stupid to trust

But just one night couldn't be so wrong

You make me want to lose control

She was so shy

'Til I drove her wild

I make them good girls go bad

I make them good girls go bad

I was hanging in the corner

With my five best friends

I heard that you were trouble but I couldn't resist

I make them good girls go bad

I make them good girls go

Good girls go

(Good girls go bad)

(Good girls go bad)

Oh, she got a way with them boys in the place

Treat 'em like they don't stand a chance

And he got a way with them girls in the back

Actin' like they too hot to dance

Yeah, she got a way with them boys in the place

Treat 'em like they don't stand a chance

And he got a way with them girls in the back

Actin' like they too hot to dance

I make them good girls go bad

I make them good girls go

Them good girls go bad, yeah

Songwriter:

I was hanging in the corner

With my five best friends

I heard that you were trouble but I couldn't resist

I make them good girls go bad

I make them good girls go bad

I make them good girls go

(Good girls go)

(Good girls go bad)

(Good girls go)

Gabe Saporta / Jacob Kasher Hindlin / Kara Dioguardi / Kevin Rudolf

SongFacts:

👉📖

Homepage:

Cobra Starship