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fuckheadwitha · 4 years ago

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Listening to Rolling Stone's Top 500 Albums of All Time

Rolling Stone released an updated list of their top 500 albums of all time and being trapped in the purgatory of covid quarantine this seems like the perfect moment to tackle what an almost completely irrelevant former counter-culture institution has to say about music (we can’t actually blame Rolling Stone for this list, a huge number of musicians and critics voted to make it). I am going to listen to every single one of these, all the way through, with a level of attention that's not super intense but I'm definitely not having them on in the background as simple aural wallpaper. Two caveats though: I can make an executive decision to skip any album if I feel the experience is sufficiently miserable, and I'm also going to be skipping the compilation albums that I feel aren't really worth slots (best ofs, etc.). In addition, I will be ordering them as I go, creating a top 500 of the top 500 (it will be less than 500 since we've already established I'm skipping some of these).

Here are 500-490:

#500 Arcade Fire - Funeral

I can already tell I'm going to be at odds with this list if one of the most important albums of my high school years is at the bottom. That being said, I haven't actually given this whole thing a listen since probably the early 2010s, before Arcade Fire fatigue set in and the hipsterati appointed band of a generation just kinda seemed to fade from popular consciousness. I actually dreaded re-experiencing it, since the synthesis of anthemic rock and quirky folk instrumentation which Arcade Fire brought mainstream has now become the common shorthand of insufferable spotify friendly folk pop. Blessedly, the first half of the album easily holds up, largely propelled by dirty fast rhythm guitar, orchestration that's tuneful rather than obnoxious, and lyrics which come off as earnest rather than pretentious. The middle gets a little sappy and “Crown of Love”, a song I definitely used to like, really starts the grate. And then we get to “Wake Up”, whose cultural saturation spawned thousands of dorky indie rock outfits that confused layered strings and horns with power and meaning. This song definitely hasn't survived the film trailers and commercials which it so ubiquitously overlayed, but the line about "a million little gods causing rainstorms, turning every good thing to rust" still attacks the part of my brain capable of sincere emotion. This album is probably going to hold the top spot for a while, because although so many elements of Funeral that made it feel so meaningful, that made it stand out so much in 2004, have been seamlessly assimilated into an intellectually and emotionally bankrupt indie pop industrial complex, the album itself still has a genuine vulnerability and bangers that still manage to rip.

#499

Rufus, Chaka Khan - Ask Rufus

Before she became a name in her own right, Chaka Khan was the voice of the band Rufus, and it’s definitely her voice that shines amongst some spritely vibey funk. That’s not to say that these aren’t some jams on their own. “At Midnight” is a banging opener with a sprint to the finish, and although the explicitly named but kinda boring “Slow Screw Against the Wall” feels weak, this wasn’t really supposed to be an album of barn burners. This was something people put on their vinyl record players while they chilled on vinyl furniture after a night of doing cocaine. “Everlasting Love” is a bop with a bassline like a Sega Genesis game, and the twinkling piano on “Hollywood” adds a playful levity to lyrics that are supposed to be both tackily optimistic about making it big out in LA and subtly realistic about the kind of nightmare world showbiz can be. “Better Days” is another track that manages to be a bittersweet jam with a catchy sour saxophone and playful synths under Chaka Khan’s vamping. This album definitely belongs on a ‘chill funk to study and relax to’ playlist.

#498

Suicide - Suicide

We’ve hit the first album that could be rightly called a progenitor for multiple genres that followed it. Someone could say there’s a self-serving element of this being on a Rolling Stone list (the band was one of the first to adopt the label ‘Punk’ after seeing it in a Lester Bangs article) but the album’s legacy is basically indisputable. EBM, industrial, punk, post-punk, new wave, new whatever all have a genealogy that connects to Suicide, and it’s easy to hear the band in everything that followed. But what the band actually is is two guys, one with an electric organ and one with a spooky voice, doing spooky simple riffs and saying spooky simple things. Simplicity is definitely not a dis here. The opener “Ghost Rider” makes a banger out of four notes and one instrument, and the refrain ‘America America is killing its youth’ is really all the lyrical complexity you need to fucking get it. “Cheree” and “Girl” have almost identical lyrics (‘oh baby’ vs ‘oh girl’) but “Cheree” is more like a fairy tale and “Girl” is more like a sonic handjob. “Frankie Teardrop” has the audacity to tell a ten minute story with its lyrics, but of course there is intermittent, actually way too loud screaming breaking up the narrative of a guy who loses everything then kills his family and himself. The song is basically a novelty, and I think you can probably say the whole album is a novelty between its brevity and character. But for a bite sized snack this album casts a huge shadow.

#497

Various Artists - The Indestructible Beat of Soweto

The fact that this particular compilation always ends up in the canon has a lot to do with the cultural context it existed in, being America’s first encounter with South African contemporary music during the decline of apartheid (it wouldn’t end until a decade later in 1994 with the country’s first multi-racial elections). Music journos often bring up the fact Ladysmith Black Mambazo, the all male choir singing on the album ender “Nansi Imali”, sang on Paul Simon’s Graceland like their virtue is they helped Paul Simon get over his depression and not, like, the actual music. But also like, how is the actual music? Jams. Ubiquitous, hooky guitars propel the songs along with bright choruses over low lead vocals, but I didn’t expect the synthesizer on the bop “Qhude Manikiniki”, nor the discordant hoedown violin on “Sobabamba”. “Holotelani” is a groove to walk into the sunset to.

#496

Shakira - Donde Estan los Ladrones

So this is the first head scratcher on the list. It’s not like it sucks. And I think I prefer this 90s guitar pop driven spanish language Shakira to modern superstar Shakira. But I mean, it’s an album of late nineties latin pop minivan music, with a thick syrupy middle that doesn’t do anything for me. The opener and closer stand out though. ‘Ciega, Sordomuda’, one of the biggest pop songs of the 90s (it was #1 on the charts of literally every country in Latin America), has a galloping acoustic guitar and horn hits with Shakira’s vocals at their most percussive.

#495

Boyz II Men - II

So, if you were alive in the 90s you know Boyz II Men were fucking huge, and the worst song on the album is the second track “All Around the World”, basically a love song to their own success, and also the women they’ve banged. You can tell it was written specifically so that the crowd could go fucking wild when they heard their state/city/country mentioned in the song, and I’m not gonna double check but I’m sure they hit all fifty states. Once you’re over that hump though you basically have an hour of songs to fuck to. “U Know” keeps it catchy with propulsive midi guitar and synth horns, “Jezzebel” starts with a skit and ends with a richly layered jazz tune about falling in love on a train, and “On Bended Knee” has a Ragnarok Online type beat. Honestly this album can drag, but you’re not supposed to be listening to it alone in a state of analysis, you’re supposed to have it on during a date that’s going really, really well.

#494

The Ronettes - Presenting the Fabulous Ronettes

A singles compilation of the Ronettes, the only ones I immediately recognized were ‘Be My Baby’ and ‘Going to the Chapel of Love’, the latter of which I didn’t know existed since the version of the song I knew was by the Dixie Cups, which was apparently a source of drama since the Ronettes did it first but producer Phil Spector refused to release it. I feel like as a retro trip to sixties girl groups it’s full of enough songs about breaking up (for example “Breaking Up”) getting back together (for example “Breaking Up”) and wanting to get married but you can’t, because you’re a teenager (“So Young”).

#493

Marvin Gaye - Here, My Dear

This album only exists because Marvin was required by his divorce settlement to make it and provide all of the royalties to his ex-wife and motown executive Anna Gordy Gaye. It’s absolutely bizarre, phoned in mid tempo funk whose lyrics range from the passive aggressive (“This is what you wanted right?”) to the petulant (“Why do I have to pay attorney’s fees?”). There is a seething realness here that crosses well past the border of uncomfortable. I don’t think it’s an amazing album to listen to, but it’s an amazing album to exist: Marvin Gaye is legally obligated to throw his own divorce pity party, and everyone's invited.

#492

Bonnie Raitt - Nick of Time

I have never heard of Bonnie Raitt before but apparently this album won several grammys including album of the year in 1989 and sold 5 million copies, which I guess goes to show that no award provides less long term relevance than the grammys. The story around the album is pretty heartwarming, it was her first massive hit after a career of whiffs, and Bonnie Raitt herself is apparently a social activist and neat human being. I say all this because this sort of 80s country blues rock doesn't really connect with me, but the artist obviously deserves more than that. I unequivocally like the title track though, a hand-clap backed winding electric piano groove about literally finding love before your eggs dry up.

#491

Harry Styles - Fine Line

I do not think I have ever heard a one direction song because I am an adult who only listens to public radio. I’m totally open to pop bands or boy bands or boy band refugee solo artists, but I don’t like anything here. It’s like a mixtape of the worst pop trends of the decade, from glam rock that sounds like it belongs in a car commercial to folky bullshit that sounds like it belongs in a more family focused car commercial. This gets my first DNP (Does Not Place).

#490

Linda Ronstadt - Heart Like a Wheel

Another soft-rock blues and country album which just doesn’t land with me. But the opener “You’re No Good” is like a soul/country hybrid which still goes hard and the title track hits with the lyrics “And it's only love and it's only love / That can wreck a human being and turn him inside out”.

Current Ranking, which is weirdly almost like an inverse of the rolling stones list so far;

#rolling stone #500 greatest albums of all time

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lucindarobinsonvevo · 4 years ago

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This week, a record made and released by close collaborators Eerie, Indiana and Heart on a Chain received a re-release with a deluxe edition to celebrate its 20th birthday

Though the front cover of Marshall’s Theory of Believably, the joint album by bands Eerie, Indiana and Heart on a Chain names only those two bands, the project was a collaboration between all the members of the Indiana seven. The Indiana Seven were a close group of collaborators who had a close working relationship in the 90s, creating iconic tracks and albums. The cover, which depicts a lone man in a ghost costume was shot by Sara Sue, an artist/photographer who shot most of the Eerie, Indiana’s album covers, and a track labeled ‘we gave this track to Tod’ features the enigmatic artist known as Tod, who also helped on the band’s delayed record Broken Record. The album art is different from the works of both bands, with Eerie, Indiana frequently having a sort of DIY feel to their photoshoots and Heart on a Chain tending to the more abstract kind. These particular photos (remastered for the deluxe edition) depict various band members in the dessert wearing a sheet over their heads with large black eye holes. The cover is Holmes, peering from behind a large unlit bonfire at the viewer. The title is written in the handwriting of Janet Donner, who also features as the figure on the CD itself. Teller features on the back of the album, and the back page of the liner notes, waving goodbye. Inside the liner, there are images of X, with Monroe being absent, apparently due to having a broken leg at the time of the shoot following an incident at a waterpark.

The album features twelve tracks, with many of them focusing on the idea of cryptids and other mysterious entities to make up the metaphors of the song. On the idea for the Album, Donner said: We wanted to talk about love as we knew it. This broad, mysterious concept that so many people in their twenties make love out to be.” On what she thinks of love now, Donner then remarked: Love is being glad the world hasn’t ended yet. I’ll leave you to make of that what you will. On the album, both X and Teller have cited the other as an inspiration behind the tracks, which will not come as a surprise to anyone who frequently listens to Eerie, Indiana as the pairs sometimes tumultuous relationship is often at the center of the most controversial and interesting projects done by the band. But this album is, more than anything else, a happy one.

The first single released from this album was the track ‘Sometimes I Almost Miss You’ in the one-two punch style of Eerie, Indiana the track is titled like a break-up but is a love song. Over an energetic guitar track and drum machine, Monroe sings about the heart transplant she’d had some years before and how she believes that she can still feel the donor even though he’s (according to the lyrics) long gone and sweetly resting. The track is careful to avoid any religious implications, instead suggesting that the donor (who has since been identified as Devon Wilde) instead rests inside her chest. With X on the guitar and Holmes on the drum machine and (of all things) the triangle, Teller is free to singe verses from the perspective of the heart donor, viewing the world from inside Monroe’s chest while Donner provides very beautiful backing harmonies. The overall mood of the track is one of quiet love and happiness, as well as gratefulness to the young boy who gave her the second chance. Those familiar with the work of Heart on a Chain know that the transplant features heavily in their songs and it’s no surprise to see it here.

The second track released in the work was ‘Me and My Jackalope’ and fueled rumors about a relationship between Teller and his bandmate, Dash X. At the time, both were closeted at the request of the label to avoid scandal. “Being in the closest literally almost killed me.” Teller would reflect later, interviewing for a project he did, releasing tracks for an LGBT themed album in the 2000s.”The funny thing is, I don’t think anyone who listened to us gave a damn. We’d go on stage, and we used to stand so close our knuckles were almost touching getting up in each other’s face and people would just go crazy.” Me and My Jackalope is, as you may have guessed, a song about impossible love. A love that the singer, in this case, mostly Teller, keeps hidden under his bed, only bringing it out to play when he’s alone. It’s a slow, sad track with Teller crooning to his animal “If they saw you, then they’d send you away.” Both Holmes and Monroe are credited as writers on the track, with the usual Eerie, Indiana flavor of complicated guitar playing set aside in favor of Donner and a violin and Holmes playing an assortment of other instruments.

The third and final promotional single was meant to be Skylines, which lyrics from are also featured on the inside booklet of the album however at the last minute it was swapped out to the Meatloaf cover in the center of the album, Midnight at the Lost and Found due to ‘label meddling’ after it was decided they needed another upbeat track after Me and my Jackalope. The track is nothing special, a seemingly typical Eerie, Indiana cover. Eerie, Indiana frequently covered Meatloaf and Jim Stienman tracks, hoping to work with one or the other someday. Sadly, this collaboration never came to be. But it’s a fun song, much like the original version from the 1983 album by Meatloaf. Somewhat of a deep cut by today’s standards, but it’s fun. Which I think was probably the mission statement of this album if Dash X is to be believed (Yes, that’s his stage name, no I do not know his real name). ‘We were a bunch of 20 something friends given a studio and a year or two to do whatever we wanted. So we did whatever we wanted, which was being weird.’

Skylines and it’s reprise is a group effort, with every member of the group joining in with the writing process to produce something that could have gone astray but managed to come together into something coherent. Skylines covers the re-treaded ground of many bands, it’s a song set about missing people while on tour. Set against New York’s bright, iconic skyline the track is mostly led by Donner as she wonders what her lover is doing right now. Her lover, played by Teller wonders about if his lover will stay in New York, swept up by the bright skylines, and pleading for them to simply be theirs. The track has backing vocals from all of the members involved, including Holmes who mostly shies away from singing parts. ‘It’s not that I don’t love to sing.” He explains, “I’m just not very good at it. Marshall was always the singer, I’m much happier playing the drums, or a cello or something.”

The final track on the album, clocking in at nine minutes, is Cryptids (I Still Believe in You and Me). This track shows off the impressive guitar skills of Teller and X, this time paired with the violin playing from Donner who shows she can keep up with the boys by playing speedy, intense sections with precision. This Dash X penned track also has extensive work by Holmes on the drums and a solo from a very jazz saxophone in the third act. Ultimately, the song doesn’t quite come together, feeling disjointed and a little over-complicated. But...Maybe that’s how it’s meant to feel. Dash was never brought into Eerie, Indiana as a writer, he was brought on to foil with Marshall on stage and because he was the only person the label could find that could play the punishingly difficult riffs Teller produces. On his Instagram speaking about pride X has suggested that a lot of his music was changed during production because it was too overtly about men, while Donner and Teller both proficiently changed pronouns in there songs, or stuck to calling their love interests you.

The album has three tracks that feel like filler, the intermission track which is not unusual on the cinematic, large scale Eerie, Indiana albums, a seemingly ‘story’ track called ‘Lost in Time’ which is a piece of Holmes poetry performed by Donner and an odd little track called ‘We Gave This One To Tod’ While the enigmatic Tod was often credited on Eerie, Indiana albums and opened for them at live shows he never quite reached the level of recognition his peers did. However, seeing the bizarre and experimental nature of his work, and his goth and punk leanings I think it’s safe to assume he was happier underground than his friends were blinded by the lights of showbiz. This piece features heavy synths and a drum machine. It doesn’t hit for me, but perhaps for a fan of Tod, it could be a holy grail.

On this version of the album, known as the deluxe edition, we’re given three additional tracks. A demo version of Elvis and the Mothman, which is lyrically the same slowed all the way down with the shouting chorus replaced with a mouth against the mic crooner style. The released, upbeat anthem style track is a far better fit for the album. Baba Yaga in Heels is a Heart on a Chain only track, perhaps why it was discarded. It features a techno style dance beat, with the lyrics being about a night out with Baba Yaga, a Banshee, and a harpy. Ultimately, the lyrics are not that impactful but they don’t need to be. The final listed track is a cover of Meatloaf’s Bat out of Hell, which lyrically and sonically is almost identical to the original.

Overall, what Marshall’s theory of Believability tries to do is ambitious. It’s an album between two experiential groups of friends trying to make something that they enjoy. But it’s not the best work of either group, which is a shame because it could have been something very special if they were given a little more time to work out some of the kinks and if they pruned some of the tracks that are superfluous to the story of the album. I’m happy to have a copy in my collection, but honestly, I’d rather listen to something the group produced independently anyway.

#eerie indiana #mitziedits #(eerie indiana as albums cinematic universe)

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nevergiveupneverrun · 6 years ago

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Bodyguard - Chapter Twenty “Take care of her...” Part Two

Hello, I hope you’re all doing great. Here is chapter twenty of my story Bodyguard. I’m sorry by advance for the mistakes… English isn’t my first language and I do my best. Here is the link of the previous chapter: Click Here.

I hope you will enjoy this chapter :) 💛

A cocoon of heat surrounds me and I find it difficult to detach myself. A movement, however, captures my attention and makes me slowly regain consciousness. My left-hand moves very slightly at regular intervals, like a back and forth… like the rhythm of a breath… My eyes are hard to open and my head falls down immediately: the image I discover waits for me and almost makes me panic at the same time. Amelia is asleep against me; her head resting against my chest, her right hand near my heart. But what surprises me most is not her position, but mine: my left arm was indeed shifted, my hand nestled in the hollow of her waist as if during my sleep I wanted to hold her against me. I observe her a few seconds but I quickly perceive a small voice to be more and more insistent: a voice of reason that is urging me to detach myself from her, to leave this position… a position she should only share with one man, and certainly not me, not her bodyguard. The reason ended up overcoming the battle: I gently shift my hand and lean to the side to detach her from me. But her body reacts instantly: I freeze immediately. She sticks firmly against me, pressing a little more her head on my chest. Her hand, hitherto placed against my heart, begins to slip as she clings to me, clutching her fingers against my side. Then a slight thread of voice resonates. - Hmm… another five minutes… I’m fine like that… I did not expect her to react, much less to those few words, whispered and pronounced in a sigh. I stop and look again at her. She literally clung to me… I can not move anymore… prisoner of her embrace. My reaction is defeated by her demand and her reaction. - Just five minutes… My left hand recalibrates gently against her. I notice her head nod against me after my remark, and a new sigh escapes from her. I close my eyes after a few seconds, also giving me this short moment of respite. My attention, however, remains focused on the sleeping woman in my arms: on her body against me, her waist under my fingers, her hand clinging to me. And the last words spoken by Amelia echoes like an echo in my head: me too, I’m fine like that… enjoying a moment of calm… with her… I feel a little half-sleep when my reflexes go back on alert as a key sound sliding in a lock makes me spontaneously open my eyes.

The front door creaks and a silhouette moves forward in the house. A silhouette that I instantly recognize. Richard advances actually in the entrance, two guitars cases in each of his hands. He scrutinizes the house before he sees us in the living room sofa. I notice that his eyes widen a little more in discovering us. I look down, while hearing steps get closer. I finally look up and find him in front of us, the guitars left behind him in the entrance. He doesn’t look me in the eyes and I clearly observe the path followed by his eyes. My hand against Amelia’s waist. Amelia’s fingers keep me again her. Her head resting against my chest with a serene and peaceful face. - What is happening? Amelia is not used to sleeping in the afternoon… He asks me the question while keeping his gaze fixed on Amelia. His face reflects an expression I had never seen on him before and I can not determine. - She didn’t sleep well that night… - And she sleeps better with you? His curt tone cut me off for a few seconds. He finds my eyes and his eyes are stern, almost suspicious suddenly. I knew what could go through his mind. I still hold his gaze, without moving a millimeter from the position in which he discovered me: I didn’t do anything wrong, I had nothing to reproach myself. - Richard, that’s not what you believe, we fell asleep watching a movie. - We? Because you too are napping? His voice is gradually rising a little more. His question contained a veil of reproach, which began to irritate me. I then feel Amelia react slightly: her head moves against me, and a deep exhalation rises to the heart of the silence that had taken place after Richard’s question. She gradually shifts to the side of the sofa. I release my hand that I had held against her, to allow her to sit down properly: I can not help but perceive her fingers gently slide against me… and lay on my belly. I keep my eye on Richard’s eyes during this moment, and I note that he carefully observes the action of Amelia and especially her hand that doesn’t leave me. Then his gaze changes direction and darkens suddenly. - What is this bandage? - Two minutes, Richard, will you? Amelia’s voice, still marked by sleep, rises weakly in the room. She moves to the side of the couch and finally pulls her fingers from me to rub her eyes, before reopening them and staring at Richard. - What is happening here? I would like to understand… - Yesterday’s evening was trying… - Yes, I remember the concert, but this is not your first concert Amelia, certainly, it was very important to mark your album but… - No Richard, after the concert… we got hit by a car… by the car of the one who threatens Amelia since a few months… - What? But how come I didn’t know anything? - Richard… everything happened so fast… I didn’t have the time, nor the desire to call you, I was a little shocked… Richard approaches the sofa and kneels in front of Amelia. - Everything is fine? You have nothing serious? His tone is suddenly softer and his actions more posed towards Amelia. - I have a small wrist sprain where this bandage, but otherwise nothing very bad… don’t worry… - I’m sorry sweetie, I should have been there… - You can’t be everywhere Richard, I asked you to adjust the technical details after the concert and… Owen was there… Richard then turns a look to me: a look in complete contrast with those he had directed towards me since his arrival, a look where I almost read grattitude. - Thank you…I understand better now… I give him a slight nod, then he talks to Amelia again. - Did you manage to rest a little sweetie? - A little yes… I slept in the day… the night was difficult. - I’m going to concel the interview you had tomorrow for you to rest. Do you want me to do something? May I stay with you a little? Richard puts his hands on the knees of Amelia, she looks at them for a few seconds and then leaves her own hands on that of her manager. - I’m fine Richard. You don’t have to play the babysitter. I already feel a lot better after a few hours of sleep. Richard fixes Amelia as to see right through her protégé and make sure of the sincerity of her words. He finally gets up and takes a step back. - As you want. I don’t want to impose anything on you. I brought you your guitars as agreed. - Thank you. He stays motionless for a few moments then directs his attention to me. - Owen, can I talk to you a minute? - Yes, of course…

His invitation surprises me but I follow him as he goes to the kitchen. He stops in the middle of the room, near the bar, and turns to me. - Can you tell me a little more? - There is not much more to say in fact… the car that had already followed us a few days ago was obviously waiting for us at the exit of the concert… the car plowed into Amelia as soon as she entered to cross. We were slightly hit by the car but we got with some scratches only… - And she really have nothing serious? - She didn’t want to be taken to the hospital… but don’t worry, she only has a nasty cut and this sprained wrist… I know how to diagnose this kind of injury… He doesn’t speak directly as if he thought or hesitated to express his thoughts. He lowers his gaze and then lifts it quickly, with a veil at the bottom of his eyes. - He really want to hurt her… I remain hopefull that the threats would only be writtent, that they would not materialize… I’d be mad all my life if something happened to her… - It’s not your fault… - Yes, I know but I feel responsible despite everything… it’s the success that makes her today the target of a crazy… and this success, I did everything for her to reach it. - You don’t have to feel guilty, she should be able to take advantage of this success without facing these kinds of threats… He nods as if to absorb my words. - Can I do something? - Just stay on your guard. He knew where to expect us yesterday… it will be necessary to pay atention to the people to whom you give the details on the schedule of Amelia, on the organization of the exits… he seems to have ways to find out easily. - Fine, I will be careful… and I’m sorry for a bit earlier. I rarely saw Amelia sleeping like this against a man and I misinterpreted the scene… I tend to react like a father a little jealous with her… I smile at his remark, while lowering my eyes, a little embarrassed. - I’m going to give her a kiss, I’m counting on you taking care of her. He shakes my hand to support his last words and then return to the living room. I decide to stay in the kitchen for a moment to let Richard enjoy a moment alone with Amelia.

I’m serving a glass of orange juice, thinking back to Richard’s last words that make me think: his surprise to see Amelia asleep against me, reminds me of a sentence that had been pronounced by Amelia during our first exchanges… on the fact that she was not used to having a man at home. This detail of her story intrigued me, she had to be regularly courted: the world of showbiz attracts all the desires. A door noise comes out of my thoughts and I discover Amelia go from the kitchen and go to the fridge in turn. She imitates me and takes a glass of orange juice. The bandage on her wrist jumps out at me, reminding me of the previous day’s incident. - Your wrist… it’s better? She takes a sip of fruit juice before answering me by turning to me. - Yes, it’s better than wake yp… the pills are effective and sleep had to help also. - Great… in a week, it will be nothing but a bad memory. She stares at me for a few seconds, before smiling slightly. - You slept too? - I… - Don’t lie to me… you look less tired than before… - Maybe a little, yes… - You had a night as hard as me… I have no complaints to make you… - And why would you reproach me? I asked, intrigued by her sentence. - Because you had to watch over my safety… but you are definitely very clever, because the method of sleeping with me is very effective in reconciling the two objectives: protect me and… Rest. - I didn’t sleep with you… - Really? And what have you done in… (an eye thrown at her watch) the last two hours? I can not help but smile at her insight. - And I will not complain, you are a very good pillow. Her spread amuses me and I cannot resist a reply back. - But that’s out of contract, you know, it’s going to cost you. She laughs at my remark. Her eyes sparkle, her face radiates… and my smile grows a little more in front of this image of a woman, full of life and enthusiasm in front of me. Where others would have taken a week to recover, a few hours had been enough.

She was amazing.

Literally fascinating.

Thank you for reading 💛

#greysanatomy #amelia shepherd #owen x amelia #amelia x owen #Owen Hunt #omelia #omelia fanfiction #omeliafics #richard webber #bodyguard

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bigyack-com · 5 years ago

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Grammys 2020: White-hot looks, strapless gowns and crazy nails at the Grammys - fashion and trends

Twenty years ago, Jennifer Lopez shut down the Grammys red carpet with her now legendary barely-there Versace green dress, open to her navel, that sent the internet into a full meltdown. How can anyone beat that?Well, the music industry’s brightest stars certainly gave it a go, strutting their stuff Sunday at the Staples Center in Los Angeles. White was a big trend, along with strapless gowns -- and super-long glittering nails.Here are some takeaways from the red carpet on Grammys night:- White-hot - Breakout star Lizzo arrived early and ready for her close-up -- and with reason. So far, she has three Grammys.The 31-year-old singer and flautist stunned in a strapless white Versace corset gown with Swarovski crystals sewn in by hand, according to the Italian fashion house.Her hair was slicked back in old Hollywood waves and she was dripping in diamonds, right down to her fingernails.She opened the night with a tribute to basketball legend Kobe Bryant, who died in a helicopter crash earlier in the day, and then a stirring medley of her hits.One of her main rivals, country-rap sensation Lil Nas X, was a vision in white at the pre-gala award ceremony as he won his first-ever Grammy for best music video for his viral smash hit, Old Town Road.Gwen Stefani -- who will perform with real-life partner Blake Shelton -- rocked in a strapless, shell-encrusted off-white Dolce and Gabbana mini-dress with thigh-high boots.Indian actress Priyanka Chopra Jonas, accompanying her nominee husband Nick Jonas, went for the shock factor with a JLo-esque down-to-there neckline on her caftan-like dress with silver accents and lots of fringe. - High style -Pop princess Ariana Grande arrived in an absolute cloud of a ruffled blue-gray tulle ball gown from designer Giambattista Valli and elbow-length gloves, her signature ponytail bobbing atop her head. Strapless was a big trend on Sunday, and she joined the bandwagon.Baroque pop singer Lana Del Rey looked elegant in a sparkling silver gown with a keyhole neckline and lots of dangling crystals. - Bright colors -Sometimes, it’s all about making a splashy statement with some bright colour.Lil Nas X ditched the white outfit from earlier for a hot pink Versace cowboy outfit complete with a studded cropped jacket and pants, a harness over a mesh shirt and the requisite hat.Not to be outdone, Billie Eilish -- who won the Grammy for Best Pop Vocal Album for her studio debut “when we all fall asleep, where do we go?” -- was in head-to-toe custom black and lime green Gucci, and sneakers.Canadian singer-songwriter Shawn Mendes went for a three-piece Louis Vuitton suit in a hue best described as cabernet.- Nail game -On Sunday, the music A-listers were all about the fingernails -- the longer, the better.Lizzo’s tips were literally dripping with diamonds, or something diamond-like, anyway.As her tune Good As Hell goes, “Head toss, check my nails, baby how you feelin’?”Eilish went for wild green nails that matched her custom Gucci threads.And Spanish singer Rosalia -- a winner for best Latin rock, urban or alternative album -- said her dagger-like silver nails were “something special” she did for the night. - Politics and music -Showbiz is generally unkind to Donald Trump, but a few with Grammys invitations have repeatedly used the red carpet to show their love for the Republican president -- and undoubtedly try to boost their social media cred.Singer Joy Villa went with a sparkly red gown with TRUMP 2020 emblazoned down the front in white block letters. On the back? IMPEACHED & RE-ELECTED. She capped the look with a blue and white cape.Onetime 90s boy band singer Ricky Rebel arrived in red lace under a canopied umbrella, which he lifted to reveal a shredded sort of shirt and red leather pants, revealing his buttocks, on which were written: IMPEACH THIS.And actress Megan Pormer wore a red gown with a super-high slit that read “NO WAR IRAN.” Over it was a sort of cape made of the US and Iranian flags.(This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed.)Follow more stories on Facebook and Twitter Read the full article

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1dreality · 8 years ago

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Of all the former One Direction members, Harry Styles’ solo debut has been the most anticipated since Zayn Malik released his album MIND OF MINE in 2016.

Premiered on BBC Radio 1 with his best mate Nick Grimshaw, the track opens to plodding piano chords before Styles opens on a Bowie-style vocal lament.

It becomes quickly apparent that while many (this writer at least) were hoping to be impressed by something altogether more fast-paced, Styles and his team have gone with the traditional piano ballad as a means of introducing his solo work.

Co-writers and Styles’ label have spend the past few months waxing lyrical about how different a direction he’s taken since the band split off for their respective new projects, but is ‘Sign of the Times’ really that different?

Working with producer Jeff Bhaskar [Bruno Mars, Taylor Swift, Rolling Stones] suggested that he would find the perfect balance of the rock music he clearly idolises and the pop that dominates the radio.

“You can’t bribe the door on the way to the sky/You look pretty good down here/But you ain’t really good,” Styles sings, and that's not even the worst lyric. As in, it's not offensively bad, but it isn't much of a step-up from the insipid lyrics he peddled as a former boyband member.

Five minute and 42 seconds as a running time feels absurdly self-indulgent; showbiz columnist Dan Wooton claims this length would be ‘commerical suicide’ for any other artist which seems a fairly redundant thing to say given how One Direction fans will obviously never allow that to happen - it's literally the only song with a shot at knocking Sheeran off his No.1 spot on the charts.

While there are plenty of nods to the likes of Queen, Bowie, and Bruno Mars track ‘When I Was Your Man’, he's appropriating those artists rather than coming into his own - the feeling by the end of ‘Sign of the Times’ is that he listened to ‘Life On Mars’ once too often before heading into the studio.

Style’s vocal work is what redeems this track. Alternating between a tender, slightly husky croon to an impressive falsetto, a lack of band members to compete with allows him to show off what was certainly one of the better voices of the group.

But the reason Malik’s effort worked so well is because he broke off from the tween pop and sickly ballads that One Direction peddled and produced a slick, mature pop album that was miles apart from anything he’d done before.

Those glam rock influences in the guitar and intro certainly suit Styles’ personality, and this is a far more confident release than songs released by his former bandmates (Malik not included). But it’s going to take something bigger than this one track to assert Styles as a serious artist... whatever his team and his best mate say.

#harry styles #harry's solo project #harry's single #sign of the times #sign of the time review #well they gave it 3 stars which is good..They were brutally honest #let's see what others will have to say

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connorrenwick · 6 years ago

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Being Your Own Creative Boss with Desi Moore

The following post is brought to you by Squarespace. Our partners are hand picked by the Design Milk team because they represent the best in design.

Becoming an established professional in any line of work can be a long road traveled, but what if you want to really niche down? We reached out to talk to Desi Moore, aka Dude It’s Desi, about how she not only got her foot in the door of creating in the entertainment industry, but also what’s kept her there. Squarespace is the website building platform that has helped Desi out by getting her portfolio site organized in a way that represents her brand and welcomes new business with vigor, letting her quirky and fun personality and style shine through!

Back in 2003, Desi found herself in a place lots of us have been – young, undecided on a future career, and having a good time living a fun, carefree lifestyle. She had just relocated back to Los Angeles from Brooklyn and had the realization that a plan was necessary for the next steps she was hoping to take as an artist.

“I just thought artwise, without a college degree, who would hire me and for what? But I swore when I moved back to Los Angeles that I would not work another day in a restaurant, and that I had to get something legit in the entertainment biz on my resume to get some sort of foot in the door. The movie advertising agency Trailer Park hired me to be their receptionist, and I did that for about a year.”

Just before Desi planned on submitting her two weeks notice to take a position as a film director’s personal assistant, Trailer Park opened a print department specific to movie posters.

“Of course I thought that was super cool, but again why would they hire me when I had no experience. However, when the print department found out I was leaving they offered me a job. Apparently my goofy illustrated company newsletters, cut out 3D lunch menus, and all the weird arty shit I made and surrounded myself with in my reception desk area caught their eye and they saw potential in me – which to this day I am still very grateful for. So, I turned down the personal assistant job and immersed myself and became completely obsessed with learning and succeeding in being an Art Director. I worked really long hard hours and will never forget how stoked I was when I saw my first official movie poster printed.”

There’s usually that moment that stands out, the one that makes you decide to commit to what you’re doing and have a go at it with everything you’ve got in you. For Desi, it was a specific movie poster that ended up being more of a lesson than a success.

“I made a poster for Mad Max Fury Road that was super time consuming because I constructed a giant mass of people, car parts, motorcycles, smoke, destruction, skulls, etc. Each piece had to be painstakingly and intricately masked out (that is where you cut something out of its environment). So halfway through I was like ‘Oh my god this sucks, my hands and eyes are killing me, what was I thinking?!’ But I kept on going and finally finished it. The client and I both thought it turned out really cool, but in the end it didn’t end up getting used for anything, but hey that’s showbiz for ya!”

Being a creative individual in a business world can sometimes be a struggle, and you’ll often find yourself at a crossroads trying to balance both sides of a company.

Desi says, “I do find it a struggle. The business side of things: discussing money, paying bills, finding the time and energy for paperwork, etc. has always been a struggle for me. Being such a right brained individual it’s not a natural forte for me. But I absolutely love being my own boss. In my art career it offers me the freedom to work on such a variety of projects: huge movies, indie movies, album covers, gig posters, clothing brands, paintings and illustrations, whatever! So I never get bored or feel pigeonholed as an artist.”

She also owns a gallery – Showboat – in Los Angeles, an entirely different creative outlet. “As far as owning the gallery, my favorite thing is it’s like I have a big ‘ol rubber approval stamp for any idea I may have. The show concepts and artists are all decided by me. Once I even painted the whole space purple, rented a clawfoot bathtub, and exactly replicated the When Dove’s Cry video set to a tee – purple roses, smoke machine, faux doves, stained glass windows, and my friend dressed as Dr. Fink. Dan Monick beautifully lit and shot portraits of people in the bathtub all night. Carmen Electra even showed up and stole the show! Basically I spent a bunch of cash to create the raddest free Prince photobooth ever. Business-wise nobody else would have ever probably approved that idea but I did, and so it happened.”

This spring, Desi is stretching her creative legs even further and releasing a children’s book – ABCs of the 80s – in collaboration with a former coworker from her Trailer Park days.

“Erin (Campbell Dunkerley) has a young daughter and really wanted to teach her about all the cool eighties things she grew up with along with her ABCs at the same time. Being an 80’s kid myself, I was totally onboard! Erin had some letter ideas and even a few clearances already in place. She was super cool about giving me creative control of the drawings and layout of the book. We were basically on the same page as far as the letters went (although for ‘N’ I did begrudgingly draw The New Kids on The Block instead of the Nancy Reagan / Mr. T D.A.R.E program, but in return I got to do payphone over Pop Swatch so it’s all good – teamwork making the dream work!) I’m not used to working on one single project for so long and I had a hard time focusing at the start of it. So me and my little dog Crackers went up to my friend’s cabin in the mountains in California for a month last year to begin it. So very cliché I know, but it was awesome and I now get why people seclude themselves when working on a book. It hits stores everywhere March 5th and a limited advance amount are available now via http://abcsofthe80s.com!”

When it comes to choosing a favorite project Desi has worked on, I’m willing to bet you’re already familiar…

“I really love when someone says ‘just do your thing’ and I can execute my vision on a project. Being micromanaged or being used as a tool to create something I don’t believe in is never fun. As far as my favorite project to date, I would say it was working on the poster for the movie Bridesmaids. I got to see it through from start to finish, beginning with creating the concept, to art directing the photoshoot with Mark Seliger, and on to constructing the final poster. The cast were all so sweet and hilarious. We shot several setups that day and one included going to a park with Kristen Wiig, Maya Rudolph, and the rest of the girls to pose with a whole bunch of puppies, bunnies, and swans in bowties and berets. The bunnies wouldn’t stop humping and right then I knew it was career highlight for sure. In the end, we went with the original idea of making the girls look like badasses posing against a brick wall, juxtaposing the whole typical demure bridesmaids in a cupcake dress thing. The original copy line I came up with that almost made it was just simply ‘What?’. Shoutout to Damon Wolf and Maria Pekurovskaya from Universal for being a dreamteam and letting me do my thing and have fun with it!”

When it comes to searching out inspiration for her work Desi says, “I really love to travel and have my eyes opened to new customs, colors, and patterns. I travel often and try and be as porous as possible and stow it all away in my brain to subconsciously draw inspiration from when I’m just back in LA working in my studio. I like when the inspirations all get mixed up together and create a whole new vibe of their own.”

Further inspiration comes from a source that’s right at our fingertips, literally.

“On a daily basis, I would be lying if I didn’t say Instagram. There are so many amazing accounts that lead you down rabbit holes of incredible art that I would never be exposed to otherwise. I also have made friends with some wonderful and inspiring artists via Instagram and we share what we find and dig, weaving the web further. I would also be lying if I didn’t say I go into very deep Instagram meme holes on a daily basis – but hey, no shame in that game – humor is the icing on the cake of life!”

It’s clear that Desi’s outlook on the world, her eye for art, and her inherent creativity know no bounds! Squarespace has helped her corral all of the bits and pieces she excels at into one amazing site that shows all of her hard work and long hours off in a cohesive, beautiful way.

Ready to get to work on your own portfolio? Take the first step with a Squarespace website. Use coupon code DESIGNMILK at checkout to get 10% off your first purchase.

via http://design-milk.com/

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fortlauderdalemodel · 6 years ago

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Queen of Soul Aretha Franklin Has Died of Pancreatic Cancer at Age 76

QUEEN OF SOUL ARETHA FRANKLIN IS ‘GRAVELY ILL’: REPORTS

PEOPLE STAFF

Aretha Franklin, the self-taught piano prodigy, vocalist and songwriter who first conquered the charts in the late ’60s and never relinquished her throne, died Thursday morning of advance pancreatic cancer of the neuroendocrine type, her publicist confirms to PEOPLE. She was 76.

“In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family. The love she had for her children, grandchildren, nieces, nephews, and cousins knew no bounds,” the family said in a statement.

“We have been deeply touched by the incredible outpouring of love and support we have received from close friends, supporters and fans all around the world. Thank you for your compassion and prayers. We have felt your love for Aretha and it brings us comfort to know that her legacy will live on. As we grieve, we ask that you respect our privacy during this difficult time.”

Funeral arrangements will be announced in the coming days.

RELATED: Remembering the Queen of Soul — Aretha Franklin’s Life in Photos

Aretha Franklin

Monica Morgan/Getty

RELATED: Inside Aretha Franklin’s Lifelong Need for ‘Extreme’ Privacy: It’s Been Her ‘Strategy’ for ‘Survival’ Says Biographer

The Queen of Soul had struggled with her health for years. A source told PEOPLE Monday that Franklin had taken a turn for the worse and that her death was “imminent.”

“She has been ill for a long time,” the longtime friend told PEOPLE. “She did not want people to know and she didn’t make it public.”

A musical phenomenon who crossed musical, racial and gender barriers, Franklin began her vocal career as a teenager, singing gospel hymns in her father’s Detroit church. From these humble beginnings she scaled to the very heights of stardom, scoring her first national chart-topper in 1967 with a searing version of “Respect.”

Since then, the artist has notched 77 Hot 100 chart entries, and earned an astounding 18 Grammys out of 44 nominations. In 1987, two decades after her first No. 1, Franklin became the first woman to be inducted into the Rock & Roll Hall of Fame, and was later named the Greatest Singer of All Time by Rolling Stone.

RELATED: Aretha Franklin’s Death Is ‘Imminent’ as Source Confirms ‘She Has Been Ill for a Long Time’

Aretha Franklin performs in August 2017

Cory Clark/NurPhoto via Getty Images

RELATED: Aretha Franklin Dead at 76: Celebrities Pay Tribute to the Queen of Soul

A source close to the singer spoke to the Associated Press on Monday to confirm that Franklin was “seriously ill,” although they did not provide any additional details as to the severity or the cause of the singer’s illness.

Showbiz 411 reporter Roger Friedman was first to report the singer was “gravely ill,” sharing that Franklin’s family were “asking for prayers and privacy.”

“I am so saddened to report that the Queen of Soul and my good friend, Aretha Franklin is gravely ill,” wrote Local 4 Detroit news anchor Evrod Cassimy on Twitter Sunday. “I spoke with her family members this evening. She is asking for your prayers at this time. I’ll have more details as I’m allowed to release.”

RELATED: Remember Aretha Franklin with the Queen of Soul’s Top 10 Greatest Songs

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Aretha Franklin

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In February of 2017, the Queen of Soul told a Detroit TV station that she was retiring from music that year. “I will be recording, but this will be my last year in concert. This is it,” she said, though Franklin admitted she would perform at “some select things.”

Despite her failing health in recent years, Franklin returned to the stage in August for what would be her final public performance at the Mann Center in Philadelphia, despite noticeable changes in her appearance that caused concern about her well-being.

Aretha Franklin in November 2017

Invision/AP/REX/Shutterstock

She also sang at the Elton John AIDS Foundation’s Enduring Vision benefit gala in November of last year. Despite two concerts scheduled for March and April of this year, the singer was forced to cancel the shows.

“Aretha Franklin has been ordered by her doctor to stay off the road and rest completely for at least the next two months,” Franklin’s management said in a statement at the time. She was expected to release her next album, entitled A Brand New Me, in November.

RELATED: Teen Motherhood, Losing Her Dad and Her Quiet Health Battle: Aretha Franklin’s Personal Struggles

Aretha Franklin performing in November 2017

Nicholas Hunt/WireImage

In summer of 2011, Franklin performed live at several concerts and talk shows to promote her album, Aretha: A Woman Falling Out of Love”, looking svelte and healthy.

In April of that year, she sat down for an interview with PEOPLE just months after being hospitalized for an unspecified operation. Though she strongly denied having bariatric surgery, the singer — who had lost 85 lbs. — did not directly address the rumors that she had cancer.

“I feel fabulous, really,” she told PEOPLE. “And I’m so thankful to all of the people who said a little prayer for me. People at the check out line in the market were telling me that they prayed for me. It’s amazing how beautiful people can be.”

Aretha Franklin in 2012

Monica Morgan/WireImage

On Dec. 1, 2010, a vigil was held in Franklin’s hometown of Detroit after it had been announced she was headed to the hospital for unspecified surgery. Only the night before, Franklin was nominated for another Grammy, this time for her duet with Ron Isley, “You’ve Got a Friend.”

By the middle of that month, as news spread from family members that she was suffering from pancreatic cancer, Franklin was recovering at home, and saying she was up and about — and feeling better, too. In January 2011, the Queen went so far as to pronounce the matter resolved.

An electrifying stage presence who was also frightfully shy offstage, Franklin, under doctors’ orders, in November 2010 canceled all tour dates and personal appearances for the next six months — a sudden announcement that both disappointed and worried her fans, who could well see for the past few years she was not in the best of health.

RELATED: ‘Every Day Is a Gift’ and More of Aretha Franklin’s Deepest Quotes

Aretha Franklin at President Obama’s 2009 inauguration

Alex Wong/Getty Images

Awards and R-E-S-P-E-C-T

While her four-octave range, phrasing and breath control have elicited critical raves for decades, Franklin’s records — “Respect,” “Chain of Fools,” “(You Make Me Feel Like) A Natural Woman,” “I Never Loved a Man (The Way I Loved You),” among the hundreds of others — and her record of accomplishments speak for themselves: the first woman to be inducted into the Rock and Roll Hall of Fame, in 1987; the holder of the record for most Grammys for best female R&B vocal performance (11); the most million-selling singles of any female artist (14); 18 competitive Grammy victories; two honorary Grammys; the sole (let alone soul) singer at Barack Obama’s 2009 Presidential inauguration — the accolades, including a 2010 honorary doctorate in music from Yale, are literally too numerous to mention.

In 1968, when Franklin was 26 with the first string of early hits to her credit, TIME magazine featured her on its cover under a banner that read, in all capital letters, “The Sound of Soul.” Describing her voice, the news magazine reported, “She does not seem to be performing so much as bearing witness to a reality so simple and compelling that she could not possibly fake it.”

Courtesy of Time Magazine

Father Knew Best

“Fake” was never in Aretha Franklin’s vocabulary. One of five children, Franklin was born in Memphis, but at the age of 6 moved with her family to a large, tree-shaded house not far from Detroit’s East Side, in the same neighborhood as Diana Ross and Smokey Robinson.

Her mother Barbara left at about that time, then died four years later. Aretha’s father, the Rev. C. L. (for Clarence LaVaughn) Franklin, was the fiery preacher of Detroit’s 4,500-member New Bethel Baptist Church — the Rev. Dr. Martin Luther King was a family friend — and it was Aretha’s father who steered the shy girl through her first gospel recording when she was 14 and later oversaw her transition into a soul singer.

“She and my dad were very, very, very close,” Aretha’s sister, Erma, told PEOPLE in 1985. “She depended on him and his advice, and when she was living in California, she’d call him three or four times a day.”

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Tragedy struck, however, with Rev. Franklin’s 1979 shooting during a burglary at his home that left him in an irreversible coma. Stunned by the incident, Aretha began an almost weekly pilgrimage from Los Angeles back to Detroit, and in 1982 finally bought the house she occupied for the rest of her life.

During her father’s years of unconsciousness (he died in 1984, as a final result of the shooting), “she spent over a half million dollars on him, $1,500 a week just for nurses,” said Erma. “But she still can’t talk about it, not even with her own family. You can’t even say the word ‘death’ around her. You have to say ‘passed away’ or find some other expression.”

The move from L.A. back to Detroit was followed by a divorce from her second husband, actor Glynn Turman after nearly six years of marriage. Her first marriage, to Ted White, lasted from 1961 until their divorce in 1969. In all, she had four sons: Clarence, Jr., born when Franklin was 14; Edward (“Eddie”), born two years later, Ted White, Jr., born 1964; and Kecalf, born 1970 and whose father is Ken Cunningham.

Aretha Franklin

Rick Diamond/Getty

Eddie Franklin, then 52, was the victim of a physical attack in 2010 at a Detroit gas station that required him to undergo surgery.

Another setback took place in 1983, when during a late-night flight home from Atlanta the small plane Franklin was on “did one of those dipsy-doodles” in midair and shocked the singer into a sudden fear of flying, she told PEOPLE. The all-but-paralyzing aerophobia, which remained a lifelong problem, led to a string of canceled or postponed projects, including a starring role in a stage bio of Mahalia Jackson and the lead in a Broadway musical about Bessie Smith.

And yet, despite her troubles, as Rolling Stone has said, “Aretha Franklin is not only the definitive female soul singer of the ’60s, she’s also one of the most influential and important voices in pop history.”

Stephen Jaffe/Getty

Feuding and Fussing

Protective of her title “Queen of Soul,” Franklin was miffed by Beyoncé for introducing Tina Turner as the “Queen of Soul” at the 2008 Grammys, which led to a minor controversy — and barbs being exchanged — at the time.

In fact, Franklin took tremendous pride in her status as a diva, but could also be baffled by diva behavior in others. While before a concert Franklin would drink hot tea and maintain a temporary silence for the sake of her voice, ”Someone told me that Céline [Dion] will go for a day without talking,” Franklin, in a rare interview, told The New York Times in 2003.

She then said, ”Excuse me? What? You kidding? I might go 20 minutes, maybe 30 minutes. That’s enough. Unbelievable.’”

Daniel Boczarski/Getty

But off-stage, she told PEOPLE previously, it was a different story.

“I’m a diva when it’s time to be a diva,” she said. “When I leave the stage, I am the lady next door.” Watching her 2011 Grammy tribute at home in February with a cup of banana pudding, the legendary singer said she was floored by the performances in her honor.

“I was sitting in front of the TV, waiting for it,” said Franklin. “It was wonderful, and a very special moment. When an industry as big as the recording industry pays tribute to you, on that level, you don’t forget that.”

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demitgibbs · 6 years ago

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Q&A: Jussie Smollett’s ‘Empire’ State of Mind

Really, aside from a fame-catapulting role on Empire and a dreamy croon so velvety you could rest your head on it at night, Jussie Smollett is just like you. Or was: He remembers going to Pride. All the rainbows and free love and free condoms and fiery ex-boyfriend drama.

These days, he has shown up (to Long Beach Pride and Milwaukee Pride) as Singer Smollett, with swoon-worthy songs from his recently released debut — a contemporary R&B collection called Sum of My Music that’s as thoughtful as it is hooky — after putting it on the shelf for years because he was too busy diversifying TV.

As out musician Jamal Lyon on the Fox drama Empire, Smollett, who got his start acting with 1992’s The Mighty Ducks, has crashed TV’s straight cis white party by bringing a positive depiction of a gay black man to your living room since the series premiered in 2015. Additionally, the 35-year-old multifaceted talent was featured as a celebrity correspondent during a May episode of the EPIX docu-series America Divided, exploring the horrific history of American racism.

Activist, singer, game-changing actor. A no-fucks businessman. Mariah Carey’s music-publishing student. And… a cookbook scribe? As Smollett’s groundbreakingly boundless career proves, when you’ve faced Pride drama, no one — not ex-boyfriends, not Sony execs — can stand in your way.

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How have your life experiences shaped this album?

Sum of My Music is the totality, pretty much, of what I’ve been dealing with over the last couple of years. The things with love, the things with my own personal insecurities, and the insecurities others put on you. And I write about my jealousy! [Laughs.]

You gotta work it out.

I gotta work it out. I talk about a lot of personal things. I’ve been singing [Empire] soundtracks for a couple of years now, and… I’ve written, like, half of the songs that I sing on the show, but it’s nice to be able to hide behind my own stories and my own lyrics that are just for me.

You’ve been in showbiz since you were a kid. What challenges have you faced as a gay black man in Hollywood?

Umm… [long pause]. You know, I’d like to…. Let me think about it. I’ve been so focused on creating my own projects, honest to god. That’s really the message that I’m trying to get out there as much as possible: to create your own pieces, your own projects. I’m not interested anymore in convincing anybody that I’m valid enough or my stories are valid enough to tell.

But, of course there are challenges to being openly black [Laughs.] and openly gay. At the same time, what else am I supposed to do? This is who I am. Am I supposed to, in 2018, not live my life now for a role? I have to just keep it moving, and I have to create with people. This is why I’m an executive producer on Giants, which is on [Insecure producer and actress] Issa Rae’s YouTube channel. It deals with everything from mental illness to homosexuality, and everything in between.

Mariah Carey, who you duetted with on Empire and opened for on tour, famously fought for creative control in the ’90s. I know you initially planned on releasing this album on Columbia Records, but it ended up on your own indie label, Music of Sound. What did you learn from Mariah about creative freedom?

I remember being on the phone with her for three hours and [Mariah] just breaking down publishing for me. When I asked to be let out of my contract with Columbia, I was armed with knowledge from people like her and different artists I’ve met, veterans in the business who really held my hand without even knowing it. Like, they thought they were just telling me something smart, but little did they know — or maybe they did know — they were really arming me with what I needed. That’s why you should always be unselfish with your knowledge, ’cause you never know if it’s gonna help somebody in the future.

From what I’ve heard you cry when you perform “Freedom,” off the new album.

I can’t help it.

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What is it about that song that gets you emotional?

There’s one particular part where I’m like, [sings] “and I don’t care what they say, ’cause I know who we are to each other.” I cry every single time. And maybe it’s because I have to push really hard for that note! [Laughs.] Or, maybe it’s just that it reminds me of how precious love is. And it reminds me of that idea of, I just — I want to love.

To me, freedom is the ability to love — not just accept. I hate that word, “accept.” It’s not even about that. It’s about changing our molecular structure so we recognize love… and love. How can love possibly be bad?

You’ve been representing a sorely underrepresented group of people on Empire — the gay black male community. What has that meant to you?

It really humbles me. And it makes me grateful. I remember that there was nobody on TV who I could identify with. The very first person I ever saw who was gay at all that I could somewhat identify with was Wilson Cruz [as Rickie Vasquez] on [mid ’90s teen drama] My So-Called Life.

He was someone of color, and I grew up loving people like Elton John, but I couldn’t identify with Elton John. I didn’t put two and two together — it wasn’t representation. I loved George Michael growing up. I loved Boy George growing up. But I didn’t connect. And maybe I would’ve been able to connect more had I seen more people at that level who represented me. So, nothing against them. They’re wonderful.

Elton subverted the label. Elton was just Elton.

Exactly. I hope we can all get to that point. But representation is so important and the responsibility…. I don’t know if good people are supposed to say they’re good, but I am saying I’m a good person. I take responsibility for all that I am.

I’ve been given a platform, and I’ve worked for that platform. I’ve been doing this since I was 4. Got my SAG card in 1987. You have people looking up to you, you have people who somehow feel affected by what you do. There is a certain level of responsibility that you must take. There is no debate, I don’t give a fuck. If the people are listening to you, you should say something worth hearing.

Politically?

Literally regarding anything that is unjust. It is your responsibility to speak up.

Can you tell me about your first Pride event?

Oh, god. I had the best time, and then got in a major fight with my boyfriend. See, this is the thing: If your shit is strong, Pride can be a real good time. If your shit is weak, Pride will tear a motherfucker apart!

Oh yeah, it can be drama, depending on who you see.

It can be major drama, especially if it’s the city in which you live.

Because you’re gonna run into ex-boyfriends.

You gonna run into exes, you gonna run into their exes. I was dating someone, and every single Pride we had an issue. Nowadays, I’m very calm. [Laughs.]

You have a cookbook coming out, a collaboration with your siblings; that’s how settled down you are.

I have a fucking cookbook with my family — I’m very settled down. I’m in a calm, wonderful relationship. My life is just calmer, it’s more secure. So now, when I go to pride, it’s all love.

Long Beach Pride was the first Pride I’ve ever performed at. Ever since Empire started, I always said, “No, I don’t want to do Pride until I do it for my album. I want it to be special.” And that’s what we ended up doing. And it’s been fun.

Because I need a husband: What do you cook for your man and are those recipes in the book?

Listen, everybody needs to know how to cook. You got to get your man right.

What’s the right man dish?

I do a good stir-fry. I can’t give away my secrets of what I throw down, and how I throw down, and what I throw down with, in the kitchen. But it definitely goes down in the kitchen — in more ways than one.

What’s your Pride message for the LGBTQ community?

To love yourself. Love yourself and love each other. We are literally all we got. It’s that simple.

Listen, I know it’s deeper than just that. We have to deal with policy changes, we gotta deal with law changes. We gotta deal with all of that. It’s economic. It’s all of these things. But everything starts with love. And I hate the term “minority,” but if every single so-called minority group were to raise up and join together, we would be a fierce majority that no motherf*cker could take down.

from Hotspots! Magazine https://hotspotsmagazine.com/2018/07/18/qa-jussie-smolletts-empire-state-of-mind/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/176056663095

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cynthiajayusa · 6 years ago

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Q&A: Jussie Smollett’s ‘Empire’ State of Mind

youtube

How have your life experiences shaped this album?

You gotta work it out.

You’ve been in showbiz since you were a kid. What challenges have you faced as a gay black man in Hollywood?

From what I’ve heard you cry when you perform “Freedom,” off the new album.

I can’t help it.

youtube

What is it about that song that gets you emotional?

You’ve been representing a sorely underrepresented group of people on Empire — the gay black male community. What has that meant to you?

Elton subverted the label. Elton was just Elton.

Politically?

Literally regarding anything that is unjust. It is your responsibility to speak up.

Can you tell me about your first Pride event?

Oh yeah, it can be drama, depending on who you see.

It can be major drama, especially if it’s the city in which you live.

Because you’re gonna run into ex-boyfriends.

You gonna run into exes, you gonna run into their exes. I was dating someone, and every single Pride we had an issue. Nowadays, I’m very calm. [Laughs.]

You have a cookbook coming out, a collaboration with your siblings; that’s how settled down you are.

I have a fucking cookbook with my family — I’m very settled down. I’m in a calm, wonderful relationship. My life is just calmer, it’s more secure. So now, when I go to pride, it’s all love.

Because I need a husband: What do you cook for your man and are those recipes in the book?

Listen, everybody needs to know how to cook. You got to get your man right.

What’s the right man dish?

What’s your Pride message for the LGBTQ community?

To love yourself. Love yourself and love each other. We are literally all we got. It’s that simple.

source https://hotspotsmagazine.com/2018/07/18/qa-jussie-smolletts-empire-state-of-mind/ from Hot Spots Magazine https://hotspotsmagazin.blogspot.com/2018/07/q-jussie-smolletts-empire-state-of-mind.html

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jaeame-blog · 7 years ago

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VMAs: Watch Fifth Harmony Diss Camila Cabello By Throwing Fifth Member Offstage | Fifth Harmony

International / 28 August 2017, 1:00pm / Bang Showbiz. Fifth Harmony's MTV Video Music Awards performance grabbed headlines after it threw some major shade at its former bandmate Camila Cabello. The answer in the end was no, she did not. Many viewers took to Twitter to express their surprise over Fifth Harmony's shade-throwing at their ex-band mate.

The American girl band Fifth Harmony threw a shade on estranged band member Camila Cabello during a performance at the MTV Video Music Awards 2017. As each of the girls ripped off items of clothing, the unnamed fifth member, presumably alluded to be Camila, fell off the stage and wasn't to be seen again. Fifth Harmony seemed surprised when they won Best Pop Video for "Down" at the 2017 MTV Video Music Awards.From Taylor Swift releasing her new video, to Katy Perry's comeback performance, and Pink's beautiful speech to her daughter, we were kept on our toes throughout the entire ceremony. The girl band took to the stage to perform their new single Angel, and took a major stab at Camila, who left the band last year.

Heading into the 2017 MTV Video Music Awards, many fans were wondering whether Taylor Swift would show up and bury the hatchet with host Katy Perry. They are said to be splitting up after their current album cycle to peruse solo projects.Fifth Harmony appeared to throw serious shade at their former bandmate Camila Cabello at the MTV VMAs last night. The band dramatically lost Cabello after the singer released a surprise statement on social media last year. Fifth Harmony just threw some serious shade at former bandmate Camila Cabello during last night's MTV Video Music Awards. Fifth Harmony used their performance during the MTV Video Music Awards on Sunday to show the world what they really think of their former bandmate Camila Cabello. Fifth Harmony took to the red carpet of the MTV Video Music Awards last night , but as usual when it comes to this pop group, the ghosts of members past was never far behind them. And since her departure, relations between herself and the band have been very frosty. It's fair to say Sunday night's MTV VMAs were explosive. Fifth Harmony'knocked off' Camila Cabello, Lorde performed without actually singing and Kendrick Lamar played with literal fire. Harmonizers got quite the shock on Monday morning when Fifth Harmony announced Camila Cabello is leaving the group.

#Fifth Harmony

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airadam · 8 years ago

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Episode 93 : (for small values of infinity)

"All that happy, 'let's be friends' shit? Yo, this is the opposite."

- Konny Kon

As usual, we pay tribute to J Dilla, Big L, and Big Pun this month, but also two giants from a previous generation who both made a massive impact on Hip-Hop; Clyde Stubblefield and David Axelrod, who both passed in the last few weeks. Besides that, we have some great recent tracks from Manchester, some US classics and a few tracks that may have passed you by! Let's get it going...

Twitter : @airadam13

Playlist/Notes

D.I.T.C. : Best Behavior (Showbiz Remix #2)

From "The Remix Project", we go heavy in multiple ways right from the jump. Big Pun may not have been a charter member of D.I.T.C, but Fat Joe certainly is, and it's via Joe that we end up with this connection to one of the fiercest MCs of all time. One verse each over this Showbiz beat which somehow manages to be even darker than the excellent Amed-produced original.

David McCallum : The Edge

I'd imagine a good number of you thought this was about to be an entirely different record :) This track from the "Music: A Bit More Of Me" album is definitely the most famous track by the actor/musician David McCallum, and one of the most well-recognised by the producer, the brilliant David Axelrod, who passed away this month. That intro is just a monster.

Big L & Jay-Z : Freestyle

Given the origin and the content, I hope you can excuse the sound quality! This is one of the great freestyle sessions of all time, with the then-rising Big L and Jay-Z trading serious bars over the beat for Miilkbone's "Keep It Real"; as it turns out, they'd already battled off-mic earlier the same night! While that clash is lost to folklore, it's good to have this back-and-forth preserved for posterity, thanks to Stretch & Bobbito.

Ras Kass : Soul On Ice (Remix)

Diamond D remixes the title track from Ras' debut, blessing Ras with a David Axelrod-sampling instrumental that is probably better known than the original. Ras is in the political lyrical mode many people would associate him with here, but as always managed to blend that with just vicious battle lines. "The waterproof MC, you ain't wettin' me/You need to stop rapping and start robbing banks like Steady B"? *Ouch*...

SoundSci : The Remedy (Jonny Cuba Remix)

This one has just missed the cut a few times but it fit nicely here! Super relaxed vibe all the way through on this closing track from the "Dig For Victory" EP.

James Brown : Funky Drummer (Parts 1 & 2)

We join this track about a minute and a half in - the full track is seven minutes long. At 19:25 though, one of the most famous, sampled, re-used, re-formulated pieces of audio of all time appears to grace our eardrums. Clyde Stubblefield claimed to not particularly like this song as a whole all that much, but these few seconds of solo drumming when he was given his shine have immortalised it - and him.

[Jay Dee] Slum Village : Climax (Instrumental)

Easily one of my favourite Dilla beats, from the "Fantastic, Vol.2" album - a fantastic blend of samples and that clap on the two and four are perfectly crisp and clean.

Busta Rhymes : Genesis

Busta was one of those MCs who caught on to J Dilla relatively early and the two artists combined for some excellent tracks over the years. On "Genesis", Busta's fifth album, Dilla contributed this title track and "Make It Hurt", which sounds like it was done by a completely different producer, which just goes to show his versatility.

Gang Starr : Mass Appeal

It just seemed to go well with the Busta record, and it's a great single, taken from the "Hard To Earn" LP. What you might not know about it is that DJ Premier essentially put the beat together as a bit of a mickey take! The track is supposed to sound like catchy elevator music, in keeping with the lyrical theme of rappers simplifying their material for a popular audience - but it just sounds so good!

Souls of Mischief : 93 Til Infinity (Remix)

Do I prefer this to the original? Absolutely not - however, that doesn't mean it's not a quality track in its own right. If you listen carefully, you'll hear that it's an actual re-record, with the lyrics being very slighly different and the delivery also tweaked to better fit this alternative beat by A-Plus. The easiest place to find this is on the original 12" single, though it has been released by itself as well.

Masta Ace Incorporated : Saturday Night Live (L.A. Jay Remix)

Staying in '93 for a remix of a track from the "SlaughtaHouse" album - an LP notable for largely being a parody which a lot of people either took literally or assumed wasn't about them! This particular track has its own dark humour, showing about how live a Saturday night can actually get, and feaures Uneek, Eyce, and Lord Digga on the mic. L.A. Jay from the Pharcyde crew rocks the same sample heard on Gang Starr's "Jazz Music" for a beat that manages to surpass the album version!

Pete Rock : Dilla Bounce (R.I.P)

A fitting instrumental to include this month. Dilla came up idolising the work of Pete Rock, so it's poetic that after his passing (as in life), Pete pays respect to him in return. I feel that "Petestrumentals 2" may follow the same path as its predecessor - underrated on release, and retrospectively hailed as a classic.

Run The Jewels ft. Joi : Down

The "RTJ3" album came out on Christmas Day and ensured that we all got at least one present :) This was the opener and a worthy one - a look back at Killer Mike and El-P's pasts, and a look forward to where they plan to go. There's a kind of warmness to the beat which isn't a word I'd usually use to describe an El-P track, but it envelops your ears and draws you in to focus on the lyrics.

Ellis Meade : Kings & Queens

Ellis was kind enough to send me a copy of this a few months back and I finally found a good place to showcase it in a mix. The flow is crazy over a double-timed, almost southern-style Pro P beat. Another win for the Room 2 Records crew!

Chamillionaire : You Gotta Love Me

"Mayn, let the truth free". That shout-out to the then-incarcerated Pimp C firmly dates this one, a longtime headphone favourite for me finally making it onto the show! From the DJ Whoo Kid (hence the annoying adlibs) collaboration mixtape "The Truth", Cham focuses his anger on Mike Jones ("who?", you may now ask?) - that beef lasted for several years. I haven't been able to find out who produced this but that sped-up vocal sample is a serious earworm!

Don Jagwarr : The Cure

I've had this one hanging around for a long while, not sure it's everyone's speed but it fit tempo-wise into this selection and I think was a reasonable follow-up to the soul sample in the previous track. Don Jagwarr is almost certainly best known to most as the guest on Ice Cube's "Wicked", but he did have his old LP, "Faded", from which this track is drawn. The beat and hook are based around a replay of Diana Ross' "Love Hangover", which is a chilled backing for Jagwarr to spin his tale over.

Jake One : Oh Lord

We go back to the gospel-themed "#PrayerHandsEmoji" beat tape for this instrumental, a perfect warm-up for this month's closer...

Children of Zeus : Crown

An anthem already (wow, alliteration)! Tyler Daly goes straight rhymes alongside the always-ready Konny Kon over a no-drums track based around a stirring gospel sample; both MCs turn it out in fine style! Absolutely huge track from the "Two Syllables, Volume Thirteen" compilation and one that deserves as much shine as possible - on top of everything else, it also has one of the best videos I've seen in ages, so no excuse not to share and share again!

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

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