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yesterdaysanswers · 2 years

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Mauro Pagani - The interview (Mucchio Selvaggio n. 307, 26 May/1 June 1998)

Musician, producer and a thousand other things, Mauro Pagani is one of the most serious and significant figures of Italian rock (and beyond) of the last twenty five years: from activism in the former Premiata Forneria Marconi to the various collaborations with Demetrio Stratos and Fabrizio De André, from research in the world music field (well before this had become a fad) to the soundtracks, the multi-instrumentalist and singer was undoubtedly the most authoritative of the possible candidates for the difficult role of Musical Director of 1º Maggio. It is precisely in this capacity that we interviewed him, asking him for information on the workings and intrigues that govern the event

How did you get this artistic direction?

I think that the appointment is due to my friendship with Fabrizio De André, who mentioned my name to Riccardo Corato, the producer of the concert. There was a need to put some order into a chaos due to pressure from record companies to include anyone, to the television that wanted to have their say, to the technical madness caused by too many guests... but I'm sure they also chose me because they hoped that I would be able to convince Fabrizio to come…

Being a musician, I take it that you were first concerned with technical issues.

Exactly. Having ascertained that it was not possible to obtain two stages, not due to problems of space, but due to the declared unavailability of RAI to double up on equipment and personnel, I convinced the organization to build a revolving stage, in order to reduce dead times to a minimum and avoid having to equip the stage in front of the audience. The one in San Giovanni is a large atypical concert, made extremely complicated by the needs of each artist and by the presence of the TV.

To what extent does RAI intervene on the concert?

The truth is that the TV, slave as it is to audience ratings, has become incapable of being a mere spectator and tends by its culture to "televise" anything, as the Sanremo Festival clearly demonstrates. At RAI they did not want to accept the idea of leaving 1º Maggio the possibility of being itself, that is, a musical review with a political meaning behind it and not just a television event: they proposed Fiorello as presenter, and when they spoke of "inviting others, invite different ones”, they were referring to Cugini di Campagna. For them, starting off with Almamegretta in prime time was blasphemy, they would have liked someone who sang "O sole mio". Luckily the whole Network (the company that manages the concert, N.d.l.) has earned and defended the decisions taken: it was a courageous act, considering that TV still acts as a "timepiece" of what is happening in San Giovanni and serves as a commodity exchange to negotiate the availability of their artists with record companies.

Are you somehow responsible for the TV broadcast idea on one network?

Absolutely not. I don't know why they changed the system, maybe they understood that the old one was too cumbersome. Even so, however, problems were not lacking, given that it was a question of upsetting the schedule of a network for about seven hours, with all its journalistic and advertising needs. Perhaps all these complications also explain why we were denied a connection with C.S.I., who had already made arrangements to perform in Reggio Emilia and therefore could not be physically present in Rome as we would have liked.

How did you move, on the contrary, in terms of artistic choices?

A complicated matter, because in any case the chosen ones would have thought that it was up to them and that I hadn't done anything special except to notice their merits, while I would have had to explain to all the others the reasons for an exclusion that they wouldn’t have willingly accepted anyway; what's more, I also suffered from the handicap of the previous editions, for example the disheveled willingness of the Network to accept everything and to submit to a series of give-and-take games. At the beginning, adopting an almost terrorist tactic, I announced my intention to halve attendance, hoping - as it later happened - to limit them to 60/70% compared to last year: this is not only because of stage changes, but also to ensure that each participant could offer two or three songs and not just the classic "promotional" piece that usually makes it to Sanremo and Festivalbar. As a basic principle I have tried to avoid pop, not out of racism towards the genre but because those who play pop still have many opportunities to appear, while at 1º Maggio - which is not the same as the Festivalbar, whatever enemies and cynical trombones may say marketed like Luzzatto Fegiz - it should be the concert of others, of those who struggle to find spaces outside the specialized circuit. Then I decided to favor groups, and not only because the first two months I was hammered with offers from young soloists, more or less singer-songwriters: groups know how to better protect themselves from the deliberate or unconscious conditioning of record companies, there are more people who keep the job alive and they sow each other's souls. They are like a laboratory, and therefore usually bring more elaborate proposals. I sincerely believe these musicians deserve more official exposure.

I don't think this modus operandi made you very popular.

I know, but what can I do? There was a line to carry and I did it all the way, there was a choice and I chose. The bad thing was having to say no to some friends for whom participation could be important, such as Massimo Bubola: we've known each other for years, we've worked together, but for reasons of coherence with the project I preferred to invite Almmegretta, Subsonica or Afterhours.

In addition to being petitioned, have you also been subjected to bribery attempts?

No, not at all. The only time they offered me money was a few years ago, when I was part of the youth jury for Sanremo. However, I've been subjected to less pressure than I expected, perhaps because of my reputation as a grouch, or because when you always speak your mind people have a harder time breaking your balls.

In the end, those who should have been on your side broke your balls: RAI, Cofferati who wanted songwriters…

The controversy of the songwriters was born fake: Cofferati was afraid that the lack of "big names" could keep the public away, and therefore in good faith he almost decided to say not to "give up" on 1º Maggio because it was something more of a concert anyway. In reality, San Giovanni, beyond the fact that there are those who want to participate for strong personal reasons and those who are less touched by the implications that are not strictly artistic, it is a maxi-musical event with television broadcasting, and the reason why we are talking about it is because it brings fights, altercations, discussions. If it were just the union party in the piazza, no one would worry too much about it, at most you'd read a few reviews in the newspapers.

Do you think you have sown something important for the future?

I hope so. And I hope next year’s artistic director realizes that a new principle has been established which at least has made the participants more protected from a technical and organizational point of view.

You assume it won't be you again.

Since they were all very happy, except perhaps Freccero, they have already asked me if I was interested in repeating. I am very honored and proud of it, but I am a little afraid of being institutionalized as "the one of 1º Maggio". But if I decided to say yes, I'd start working on it as early as September, in order to be sure of having truly exceptional foreign guests and not having to accept what little or much that has finally arrived, also thanks to the bureaucratic delays of the recording world. Furthermore, I would try to open up television prospects at a European level, and perhaps reserve a half hour for five or six "brand new” particularly promising acts.

#mauro pagani #does he really have a reputation of being a grouch? ha!#il mucchio selvaggio #1º maggio #primo maggio #article #translation #my translation

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peppertaemint · 2 years

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I don't know that you'll have a different perspective on this, but tmikpop posted about some of the goals of the possible kakao and sm "collaboration" and one of them was removing a restriction on artist performances(I didn't even know that was a thing) and having them do 20 performances a year.

Maybe I'm out of touch, but I would think that's a good thing? That's literally a tour? Artists(in general) like performing and touring. But you have everyone in the quotes crying about sm overworking the artists(including army, which is funny cause a couple days ago they were laughing about hybe disbanding all these sm flops and now they're concerned about them)

But like, am I the crazy one? I didn't see anyone celebrating the fact that these artists(their favs in a lot of cases) are gonna get to perform. Maybe its coming from the shawol side with Key just saying that he'd like to have a concert but he hasn't been able too, and seeing how much Taemin desperately wanted to perform for fans but couldn't cause of covid before his enlistment, the idea of being upset that they get to do that as much as possible would be insane to me?

Why are kpop fans so backwards???

Thanks for this great Ask.

If Kpop fans were predisposed to infantilization, fetishization, and victimization/othering of Asian artists, COVID exacerbated this. The "big bad" became real, affirming all their worries that Oppa needs to stay at home.

First, COVID really changed the playing field for those of us in jobs that involve extensive international travel. Some of us went from traveling every month to zero. This is true for traveling musicians, which is most SM artists. COVID put us all at home together but separately. I do think that some have gotten used to this "new normal" where no one goes abroad. I notice it in the outsized receptions at airports and with fans seeming to have soured on touring altogether unless it is directly benefitting them. The line seems to be "it's too much unless XYZ artist is playing my city."

The overwork stuff, in my opinion—and I'm focusing on English-speaking, western fans here—is tied into Orientalist views about Asia and the perceived cultural differences at play. I say perceived because there is interesting work I've read tiny chunks of about how colonizers in the past centuries created the myth of Orientalism and the East/West split. Essentially, we are more the same than we are different (duh, I mean, not rocket science) but I'm sure if you're a westerner, you could name lots of media, and even recent media, that plays on this facile idea of the strange and differentness of the East. It's tied to xenophobia, too, which was very pioneered by Xenophon who went around reporting on what he thought were backward, crazy cultures he countered in his travels during ancient times.

All this is to say that I think fans don't have a realistic idea of what a demanding career in any country looks like (because lol, omg ... ), and they cannot put their selves in the shoes of a person like a Korean popstar who has worked for countless years to enjoy an abundant career. If they could, they'd understand that while safety and health are important, they're not just about "too many tour dates". It's actually about what do those days look like, how much well-being is built in, and how much rest time is afforded?

I'm hesitant to use Haechan as an example, but I think I'll bite the bullet to say he got sick, he got COVID, and he now has a heart condition of some sort. We're not privy to the details of what that is or what its limitations are, and rightfully so because how is that our business unless he shares it? If, against medical advice, SM order Haechan to do X amount of work, he does it and then gets sick, that's grounds for a lawsuit. SM has made terrible mistakes in the past, but I do not judge them as a company operating against medical advice. If Haechan makes his own decisions against medical advice and SM fails to make an intervention, that could also be a lawsuit around duty of care, but I'm not a Korean law expert.

You might remember the Michael Jackson lawsuit against his record company regarding duty of care re his death. If the record label knew they were paying for a doctor who was doing XYZ, are they culpable for not providing safe care? Are they culpable for arranging a tour when they likely knew the state of his health? His family filed a wrongful death lawsuit against AEG but ultimately AEG was not found liable. That case is really good reading if you have an interest in the duty of care that record labels have for artists.

All the above in mind, no I don't think extra tour dates are an issue because touring is the norm, and it's what artists and fans want. I also operate on the belief that SM operates legally (lol, what a thing to say right now), and does have artist well-being enmeshed in their work. Does that mean artists won't get sick? Of course not. People will always get sick or have personal problems, but whether the label is liable/culpable is a legal issue and for many a moral issue that isn't well represented in legal opinions.

#I find duty of care really interesting #maybe I'm a nerd

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nctsjiho · 2 years

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If You Want Me To

cw: (requested) the boys Jeno seem a bit controlling but they're just worried; super vaguely suggestive, but I'll still mention it in case || era: July 2022

❀ JiHo gets a big opportunity from her company, but the boys seem very wary about it

“Awesome, you guys!” the dance teacher yelled out as the music came to a stop. The two idols breathed heavily in their ending poses, faces closer to each other than they probably realised. “It’s coming along nicely. We’ll see when your schedules align again to plan another practice.”

JiHo took a step back from her dance partner, uttering a breathy “thank you” with a big smile on her face after he complimented her dancing. “You’re a way better dancer than me,” he said, causing JiHo to quickly deny his words. He was her senior after all, and one of the most respected idol dancers in the industry. “Yah! Taeyong, your kids are all so talented! She’s good!”

Although hearing that made Taeyong proud of JiHo, he couldn’t help the forced smile on his face. “Ah yes, hyung. JiHo’s really good,” he laughed awkwardly, but luckily Kai didn't seem to notice as he took his leave with a wave in his general direction.

It came as a complete surprise when JiHo’s manager told her that the company wanted a couple dance between her and Kai — the singer she had pretty much idolised for years. Of course, as years passed, JiHo looked at Kai more as the person he is and her senior, but she still respected him all the same. Their family concert was coming up and she couldn’t believe she was getting a special stage with the other idol, her members couldn’t believe it either.

“JiHo.” JiHo heard someone call out for her carefully. She hummed to let Taeyong know she acknowledged him and he could continue speaking. “Aren’t you a bit uncomfortable?”

The girl’s ears perked up at the question and she turned around with a raised brow. “Why would I be?”

“The dance, it’s a bit… sexy,” he whispered the last word. “Wouldn’t you prefer dancing with someone you know better? With someone you’re more comfortable with?”

At first, JiHo didn’t even notice the other boys behind their leader, but sure enough, some of the younger members were also standing there, patiently awaiting an answer from her. A short amused scoff left her lips before she answered, “someone like any of you guys?”

Although Taeyong wanted to deny it, Shotaro, Jisung and Jeno had already absentmindedly nodded in agreement. “I— I mean, not necessarily, but I agree with Taeyong hyung. You’re pretty close to Kai sunbaenim during the dance and you might feel uncomfortable with it…” Jisung tried to explain in his flustered state.

“I’ll tell you one thing, I’m very comfortable with it.” The boys knew JiHo was just trying to tease them, but her playful smirk didn’t sit too well with them.

It wasn’t the fact that the dance was on the sexy side — something the company wanted to get a reaction from the fans — but the fact that it was Kai she would be dancing with. Or, rather the fact that it wasn’t any of them she’d be dancing with. Especially when the news arose that Kai possibly wouldn’t be doing the collaboration stage with JiHo and she could choose another member to dance with. However, JiHo chose to wait for confirmation about Kai’s unavailability rather than choosing one of her members.

“You taught someone dances years ago and she doesn’t even consider doing a special stage with you,” Ten sighed, walking away from the group. “It hurts my heart, honestly.” Instead of commenting on it, JiHo decided to roll her eyes instead.

“Hyung, that’s why they say there’s no need in raising children. They’ll only bring you more pain and problems later on,” Jaemin explained to him.

Hearing Jaemin side with the boys made JiHo gasp. “I thought you said you weren’t interested in doing the stage with me. You said you didn’t want to dance.”

“You asked him?” Jeno’s eyes widened when Jaemin nodded affirmatively. “You asked him and not any of us?”

The few pairs of eyes staring at her were a bit intimidating, but JiHo answered as if she wasn’t affected. “Yeah, Jaemin was there when I got the call about sunbaenim possibly not being able to do it so I asked him. And Jaemin said no so I kinda didn’t bother asking anyone else.”

Sungchan and Shotaro shared incredulous looks. “And I thought I was her favourite dance partner,” the Japanese mumbled softly but JiHo clearly heard it.

“Okay now you guys are making me feel bad,” JiHo huffed as she looked at the boys who looked like a litter of abandoned puppies. “But you—”she pointed at Taeyong”—you aren’t allowed to complain because you chose to do a stage with Mark during our tour even though I asked you if you wanted to do one with me.”

Taeyong’s mouth fell open as he tried to come up with an explanation but nothing seemed to come out.

“It’s fine,” Sungchan stated even though his tone sounded defeated. “If noona prefers Kai sunbaenim over us, we’ll just have to accept it.” He patted Shotaro on his shoulder trying to seem serious, but as soon as he made eye contact with the older boy he couldn’t force the grin away from his face.

The other boys tried not to smile too hard as JiHo let out a loud sigh. “Sungchan, you hang out with Haechan and the other dreamies too much. You’re becoming too much like them. Stop it,” she warned, earning a bright-smile and nod from the boy.

Jeno was the only one who was still hyper-focused on JiHo’s “betrayal” and let out a loud whine. “No but—”he moved closer to her”—I still don’t like it.”

JiHo eyed him a bit surprised at his words and realised that the matter must really have been bothering him. “I’m sorry Jeno, I’m sure we’ll get other opportunities—”

“No,” Jeno growled but now in a hushed tone so that the others couldn’t hear him that well. JiHo signed to other members to move back without Jeno noticing. “I know Kai sunbaenim is just doing his job, but why does he have to touch you? Why does he need to hold your hand or your arm, or even your leg? Even I get uncomfortable seeing someone hold you like that.”

JiHo subconsciously mirrored the pout on Jeno’s lips as she started to realise the real reason for Jeno’s “jealousy”. The other boys might’ve been jealous as well, but it was mostly playful. Jeno — and Taeyong a bit as well to be fair — wanted to be sure JiHo actually felt comfortable knowing she didn’t like and wasn’t used to physical contact like that.

“I know, Jeno.” Her tone was soft as she spoke to him. “I admit that it did feel a bit weird at first, but after a few practices I’m used to it. And this is Kai sunbaenim we’re talking about. He’s just doing the choreography we are given, nothing more. And I’m close to our teacher, we revised the dance to the point I’ll be comfortable doing it on stage. So don’t be worried.”

“It used to be worse?” JiHo chuckled, finding it a little funny how that was the only thing Jeno had seemed to pick up on. “Yah, don’t laugh! I’m serious. Can’t you ask someone for a change of partner? I think the fans would also feel weird seeing you do such a dance with someone that’s not a member. It feels unnatural.”

JiHo hummed, taking a bit of time to think about it. “You think so?” Jeno nodded reluctantly as a response to the question. “If that would make you happy then I’ll ask if I can change my partner.”

“Really?” The two 00 liners refocused their gaze to see Jisung standing behind Jeno, a sheepish grin painting his features the second he realised they caught him eavesdropping. “I mean—”

JiHo laughed, “yes, I’m serious. If you guys really don’t want me to dance with sunbae, I’ll ask for it.” She said it loud enough so everyone could hear.

“Would you be okay with that?” Sungchan asked unsure.

“Well, I’d be a bit disappointed and I’m a little unsure of how sunbae or the company would react, but I’d do it if you want me to,” JiHo explained truthfully.

Ten took a step closer and squeezed Jisung and Jeno’s shoulders comfortingly. “No, don’t do that. Listen kids, JiHo’s old enough to make these kinds of decisions and it’s a cool opportunity for her. After how many times SM has screwed her over—”JiHo’s gasp at his brazen comment cut him off, causing him to laugh. “She deserves this, to be honest she should be getting a solo stage for all that’s worth, but…

“It doesn’t matter guys, one day JiHo will have a boyfriend and that would not compare to any of those risqué touches—”

“Yah!” Taeyong walked up behind Ten and slapped a hand over the boy’s mouth. “My child will not have a boyfriend on my watch!” he warned.

As the leader pulled Ten away to scold him, JiHo just chuckled with a roll of her eyes. In front of her stood a bright red-faced Jisung, in shock from his elder’s words. “Hey, don’t listen to him okay? Well, besides the fact that this doesn’t matter as much as you guys think. I’m completely fine. If we have time one day, or if I decide to finish another choreography we’ll just do a dance video together, okay?”

When all the boys nodded — although Jeno a bit hesitantly — JiHo turned to grab her bag. But one of the boys decided to push himself into her side. “Hmm? What is it, Jaemin?”

“Am I still allowed to be sulky about this whole thing? I like it when I can annoy you.” JiHo turned to the boy with a look of distaste, but didn't turn his request down — not that she agreed either. “I think you’re especially cute when you are annoyed at us.”

The girl had to suppress the urge to slap the stupidly wide grin off his face. Instead she poked his side causing him to flinch a few steps away from her. “Don’t mess with me, Na Jaemin,” she sang.

In response Jaemin scoffed, “and you tell us we hang out with Haechan too much. Huh?”

---

masterlists: main masterlist || jiho.writings masterlist

#jiho.writings #nct 24th member #nct addition #nct female member #nct imagines #nct additional member #nct extra member #nct female addition #nct added member #nct additions #kpop!addition #kpop!oc

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dailyexo · 3 years

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[INTERVIEW] Xiumin - 220105 Clash Music: “"I've Always Valued Courtesy" Xiumin Interviewed”

"Behind the Korean star's new fashion capsule...

“Manners Maketh Man” is a motto Kim Minseok likes to live by, so much so that he’s made it a key part of his latest creative venture.

The eldest member of K-Pop juggernaut EXO, known under the stage name Xiumin, has integrated the quote (which most people will probably recognise from the blockbuster franchise Kingsman) into a capsule collection he’s designed with LA-based clothing brand Represent. The line, which is made up of staple basics like t-shirts, hats and sweatshirts, also includes designs based around his favourite number (it’s 99, in case you were wondering!). The latest in a line of collaborations with artists that include label-mates Ten Lee from NCT and Max Changmin from TVXQ, Xiumin sees this collection as another way to connect with fans who he’s celebrating almost a decade in the industry with.

The collection, which launched on December 17th, rounds off an incredibly busy year for Xiumin, who became the first member of EXO to wrap up their mandatory military enlistment at the end of 2020. Since then, he’s piled his plate high with creative ventures. Following a celebratory ‘welcome home’ livestream, March saw Xiumin front his first solo fan meeting and mini-concert, returning the captivating performer back to the stage after almost two years away. June then gave EXO fans (known as EXO-L’s) an unexpected treat with the seven active members of the group releasing a special comeback album 'Don’t Fight The Feeling' to celebrate their ninth anniversary. Finally, in the latter half of the year, Xiumin treaded the boards as part of the Korean version of Broadway musical Hadestown in the lead role of Orpheus. It's fair to say that 2021 gave him and fans a lot to be excited about.

Now, as we enter a new year, Clash catches up with Xiumin to talk about his personal style, how he gains creative motivation from fans and goals for 2022.

Congratulations on your clothing collaboration with Represent! How did it come about?

I first heard of this collaboration through the team who’s in charge of artists’ collaborations. I actually was already familiar with the project because MAX CHANGMIN of TVXQ! did one before. I thought this collaboration would be a good opportunity for me as well so I was excited to participate.

Was venturing into fashion and clothing something you always wanted to do?

When I normally was working on albums before joining the army, “comfy” was the greatest meaning of fashion. So for me, fashion was mostly sweatsuits, but after being discharged from the military, I started to have a lot of interest in dressing up myself with various fashion styles. I gradually became more and more interested in fashion, and it made me want to design something for myself, hence why this collaboration is meaningful to me.

What was the process of designing the collection with them?

As this is the first collection collaboration for me, I thought it would be really difficult and challenging to create something from nothing. Represent’s manager Jenna [Holtzman] encouraged me to start with “what are the things that inspire me, what am I most interested in,” such as phrases and numbers, etc. Then, Represent’s design team drafted various designs for me to develop. They also helped me reflect my opinion on the collection, so it was easy to approach and the overall process was great.

One of the main designs is the phrase ‘Manners Maketh Man’ from the film Kingsman - what is it about that quote that you like? Is that one of your favourite films?

I’ve always liked the Kingsman movies. I watched the entire series, and I liked it so much that I watched all the previous films again before I watched the most recent one in the series, The King’s Man. The phrase “Manners Maketh Man" touched my heart because I’ve always valued courtesy even before the movie.

What is the meaning behind your lucky number, which also appears in the collection?

The lucky number that appears in the collection doesn’t really have a special meaning to it. I know it could sound a bit silly, but I just like how 99 is the largest two-digit number, and how it gives the feeling of being big and full.

The collection is described as being based on your personal style - how would you describe your style? Is there any aspect of clothing that you particularly enjoy?

I like comfortable styles, so I prefer overfit designs rather than tight fit. I think I like how it is easy to move in this style. I like that this collection reflects this “comfy” feeling really well.

Your personal style is obviously different to the style you adopt on stage or in performances, but do you have a particular favourite look so far from the concepts you’ve been a part of?

Since it is my job to adapt and perform, I have experienced diverse fashion styles and concepts, and would love to experience more. I especially liked the concept from EXO’s album LOTTO. The clothes were really simple but we used different accessories and jewelleries to liven up the concept. Not only the fit of the clothes, but also the hairstyles and makeup all helped create that “rich” concept.

What inspires you when it comes to being creative?

There may be a variety of inspirations when it comes to being creative, but there are two main inspirations – first of all, I can’t leave out EXO-L. EXO-L is the driving force behind EXO’s Xiumin. The other inspiration is the relationship between myself and other people. So, I wanted to communicate with fans as well as people around the globe through this collection.

This rounds off a really exciting year for you, which also included a comeback with EXO, a solo fan meeting and a role in Hadestown - do you have any particular favourite memories from the past year?

I wanted to perform on stage SO much while I was in the military service, so all of the activities afterwards were great and memorable. I guess it was a time when everything felt so meaningful.

With a New Year ahead of us, do you have any goals for 2022?

For goals next year, I am preparing a solo album so that I can release it in 2022! Also, I want to try acting. But most of all, my biggest wish is that everyone around me will have a healthy 2022!"

Credit: Clash Music.

#EXO #EXO M #Xiumin #220105 #t:news #endorsement #represent #fs:clash music #comeback:Fight

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fyexo · 3 years

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220107 "I've Always Valued Courtesy" Xiumin Interviewed

Behind the Korean star's new fashion capsule...

“Manners Maketh Man” is a motto Kim Minseok likes to live by, so much so that he’s made it a key part of his latest creative venture.

The eldest member of K-Pop juggernaut EXO, known under the stage name Xiumin, has integrated the quote (which most people will probably recognise from the blockbuster franchise Kingsman) into a capsule collection he’s designed with LA-based clothing brand Represent. The line, which is made up of staple basics like t-shirts, hats and sweatshirts, also includes designs based around his favourite number (it’s 99, in case you were wondering!). The latest in a line of collaborations with artists that include label-mates Ten Lee from NCT and Max Changmin from TVXQ, XIumin sees this collection as another way to connect with fans who he’s celebrating almost a decade in the industry with.

Now, as we enter a new year, Clash catches up with Xiumin to talk about his personal style, how he gains creative motivation from fans and goals for 2022.

Congratulations on your clothing collaboration with Represent! How did it come about?

Was venturing into fashion and clothing something you always wanted to do?

What was the process of designing the collection with them?

- - -

One of the main designs is the phrase ‘Manners Maketh Man’ from the film Kingsman - what is it about that quote that you like? Is that one of your favourite films?

I’ve always liked the Kingsman movies. I watched the entire series, and I liked it so much that I watched all the previous films again before I watched the most recent one in the series, The King’s Man. The phrase “Manners Maketh Man'' touched my heart because I’ve always valued courtesy even before the movie.

What is the meaning behind your lucky number, which also appears in the collection?

The collection is described as being based on your personal style - how would you describe your style? Is there any aspect of clothing that you particularly enjoy?

Your personal style is obviously different to the style you adopt on stage or in performances, but do you have a particular favourite look so far from the concepts you’ve been a part of?

- - -

What inspires you when it comes to being creative?

This rounds off a really exciting year for you, which also included a comeback with EXO, a solo fan meeting and a role in Hadestown - do you have any particular favourite memories from the past year?

I wanted to perform on stage SO much while I was in the military service, so all of the activities afterwards were great and memorable. I guess it was a time when everything felt so meaningful.

With a New Year ahead of us, do you have any goals for 2022?

For goals next year, I am preparing a solo album so that I can release it in 2022! Also, I want to try acting. But most of all, my biggest wish is that everyone around me will have a healthy 2022!

- - -

Xiumin’s collection with Represent is available until January 7th.

source: Lucy Ford @ Clash

#exo #xiumin #t: interview #clash #manners maketh man

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hyperion-moonbabe-art3mis · 4 years

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Big Break

Request: Can I request a Luke x reader with like 1995 Luke and Y/N where reader has a concert and invites her friends and boyfriend (not Luke as BF yet 😪😂) and she’s really nervous and looks for her boyfriend before hand but doesn’t see him and learns he didn’t want to come so Luke (who is her BFF and completely in love with her and her him) supports her and calms her down and after the concert she breaks up with her boy and dates Luke ~ @im-a-writer-right

Word Count: 3.5k

P.S. Sorry for the fic spam today. My TVD and 100 fics were scheduled for today. and I just really wanted to get this one out.

Tonight is the biggest night of your life. You booked a gig that could give you your big break. You were opening up for one of your friend’s band, Twisted Island, who has a contract with one of the biggest record labels, Sub Pop Records. You were so nervous you practically didn’t sleep the night before. Luckily, one of your friends gave you some melatonin to make you practically pass out.

You look to your computer to find a message on AOL from your boyfriend, Tyler.

Tyler: Morning

You: Morning

Tyler: Meet @ Moonshine Cafe in1 hr. I want to spend time with you before work

You: Ok, love. See you soon

Tyler: See you soon <3

Your boyfriend wasn’t only one of your oldest friends from LA but also an emerging music artist. He was the one who helped you land the gig, on top of your friends who you were opening for. He knew some other big record labels and invited them to your show. In case you didn’t land a deal with Sub Pop Records you had the other labels you could possibly sign with.

You get up to shower and get ready to meet your boyfriend. You hop in your car and head to the cafe. Not long after your boyfriend arrived. You gave him a big kiss and head to get seated. Of course, Tyler pulled some strings so you two could be seated at their private table.

“These are for you, for good luck,” Tyler says and hands you some flowers.

“Awe, thank you,” You smile.

“I’m sorry I can’t help you prep more for tonight. I just can’t miss out on this collaboration with Madonna,” Tyler says.

“It’s ok. It’s an amazing opportunity, I’m excited for you. But you can make it for soundcheck right? It’s at five and I got you a backstage pass,” You say pulling out a lanyard.

“Yes. We should be done between 3:30-4,” Tyler says taking the pass from your hands.

“So how many songs are you gonna record with Madonna?” You ask.

“Not sure. Today we’re just writing some. I’m hoping for at least two or three,” Tyler says.

“Well, no matter how many you write together. I bet they’re going to be amazing. I can’t wait to hear them,” You say as your food arrives. The two of you spend the rest of the time talking about his collab and your gig before you receive a call.

Luke: Y/N I just woke up. The guys and I are gonna meet at the garage soon.

You: I’ll meet you guys there in 30.

“Who was that?” Tyler asks

“My friend in Sunset Curve, Luke. The guys told me they’d help me prep for tonight so I gotta go soon,” You tell Tyler.

“Those guys are great. I have to go soon too anyways. I need to be at the studio in like an hour. But I wanted to get there a bit early,” Tyler says.

“You always like to please people,” You laugh.

“You know me too well,” Tyler laughs as a waiter brings boxes over. You pack your leftovers in the box as Tyler pays.

“Thanks again for breakfast,” You say.

“You’re welcome. The best way to start off the day. I’ll see you later tonight,” Tyler says.

“See you tonight. 5 O’clock at The Los Angeles Theatre, don’t forget,” You say.

“I promise, I won’t,” Tyler says and kisses you goodbye.

You get into your car and head to the Sunset Curve garage. Once you made your way into the garage you find that only Alex and Reggie were there.

“Hey guys,” You say.

“Hey,” The boys say in almost unison.

“Where’s Luke and Bobby?” You question.

“Bobby is supposed to pick Luke up. He probably slept in,” Alex says.

“I thought Bobby was the punctual and responsible one?” You ask.

“Who says we’re not responsible?” Reggie asks, clearly feeling hurt.

“Me, but you guys did have that gig last night right? How’d that go?” You ask.

“It was great. Reggie even--” Alex starts before he gets slapped in the chest by Reggie.

You raise your eyebrow, “Reggie even what?” You question.

“Dude, just tell her. She’s not gonna give up, you know that,” Alex says.

“I may have had a special night with this girl,” Reggie says quietly.

“Oh yeah? Is this someone you’re gonna see again? Or more like a one-time thing?” You ask.

“I-I don’t know,” Regie says.

“Either way I’m happy for you,” You say. You then hear the doors open and turn to find Luke and Bobby walk in.

“There’s our big shot!” Luke yells before tackling you with a hug.

“Not quite yet. I still gotta play tonight,” You say pulling away.

“Either way. My best friend is getting her big break AKA our big shot,” Luke says.

“What about us?” Reggie asks furrowing his eyebrows.

“We’ll get our shot, but today is about Y/N,” Luke says.

“Aw shucks,” You chuckle. “So I’m playing like five songs and if I’m being completely honest...I haven’t picked them out yet,” You say.

“Well I know ‘Rose’ and ‘Shadows’ are two of my favs,” Luke says.

“‘Constellations’ is also a great one,” Alex adds.

“Those three are at the top of my list,” You say and pull out your music journal.

“What about the song you and Luke wrote together?” Bobby asks.

“‘Red Hearts’? That’s a duet song. I can’t really play that one,” You say.

“Y/N’s right. It’s meant to be sung by two people,” Luke smiles at you.

“I think ‘Bracing for impact’ and ‘Devil’, will fit in with the others then,” Bobby suggests.

“Yeh, but I haven’t played ‘Devil’ more than twice and one of those times was in front of you guys,” You say.

“You are an amazing artist, Y/N,” Luke grasps your arms. “You barely need any practice. Remember when I threw you on stage with us to sing one of our songs?” Luke says.

“That doesn’t count, Luke. I watch you guys practice all the time,” You point out.

“But you memorized the lyrics,” Alex says.

“Ok...I guess that was impressive. Fine, I’ll do these five. Thanks, guys,” You say.

“Great! I can’t wait to hear them,” Luke says as the other nod in agreement.

“Oh! Also, I pulled some strings and got you all backstage and sound check passes,” You say pulling four lanyards out.

“Backstage passes to the Los Angeles Theatre?!?” Reggie exclaims taking all four passes from your hand.

“You know the three other passes are for your bandmates right?” You ask.

“Oh. Yeah. I just can’t believe we get to go backstage at the Los Angeles Theatre,” Reggie says handing his bandmates the remaining passes.

“Soundcheck is at five,” You say.

“You know we’ll be there,” Luke says and smiles at you. You and the boys hang out as they practice.

“Y/N, who are you opening up for again?” Bobby asks.

“Really? My friend whose in Twisted Island. They’re signed with Sub Pop,” You respond.

“Seriously? How did you get this gig exactly,” Alex asks.

“Well, my friend. But Tyler also invited a couple of other labels to see my show,” You say.

“Don’t forget us when you get big,” Luke says.

“How could I? You guys are the ones who told me I should play gigs in the first place,” You say.

“You and Luke have known each other for however long. Why didn’t we invite her to sing with us again?” Reggie asks as everyone in the room gives him blank looks. “What?” He asks.

“Reggie...do you really think that an amazing singer like Y/N would ever want to join Sunset Curve?” Luke says putting his hand on Reggie’s shoulder.

“In my defense, none of you asked me,” You respond.

“So is that a yes?” Reggie asks.

“I didn’t know that was an invite,” You say.

“Ok. Hypothetically if we offered...would you like to join?” Reggie asks.

“Uhh...we didn’t have a band meeting about this,” Bobby adds.

“It’s a hypothetical question, but I know I wouldn’t mind,” Luke says.

“I mean she’d be a great addition,” Alex says.

“And she can play a mean guitar. But she might steal your lead singer role, Luke,” Bobby says.

“Why do I feel like I’m being interrogated?” You ask.

“Just answer the question,” Reggie says.

“Ok, ok. Let’s say you offered me today. My answer is, let’s see how tonight goes,” You respond as the boys seem pleased with your answer. “Speaking of tonight, it’s like 3. I need to get ready and then head to the theatre,” You say and get up.

“Alright we’ll see you there,” Luke says as you hug each of the boys.

“5 O’clock. Don’t be late,” You say walking out of the garage.

“We won’t!” Reggie yells.

You head back to your apartment and get ready to head to the Los Angeles theatre. You grabbed your guitar and your accessories and head to the theatre. Once you got there you already heard Twisted Island doing their soundcheck.

“There she is,” Adam, your friend, says as you walk in.

“Hey,” You say setting your stuff down.

“Ready for tonight?” He asks.

“I don’t know if I’ll ever be, but I don’t have any choice,” You respond hugging him.

“You’ll do great. You remember Jessie, Shawn, and my brother Mike,” Adam says pointing to the respective band members.

“Yeh, I’m Y/N Y/L/N,” You awkwardly say.

“We’re almost done with our soundcheck. Miles, there, will show you to your dressing room,” Adam says pointing to the man with a headset on.

“Thanks,” You smile as you’re lead to your room. You make your way in and set your stuff down. You first make a call to Tyler, but no answer. A few minutes later you hear a knock at your door.

“You’re up for soundcheck,” Miles says. You grab your guitar and other things and head to the stage. As you were setting up you see the Sunset Curve boys walk in. You stop and go to greet them.

“Hey, guys. I was just setting up,” You say as you hug them.

“This is amazing!” Reggie says excitedly as the others look around in awe.

“This is Adam the lead singer and guitarist in Twisted Island,” You say noticing him and his bandmates walk up. They introduce each other.

“Hey, where’s Tyler?” Luke asks.

“I don’t know. I told him to be here at 5 for soundcheck. I called him but he didn’t pick up. I’m sure his meeting with Madonna is going late,” You say before heading to finish setting up. You play the five songs out while the two band watch. Tyler still hadn’t shown up.

As you finish your soundcheck, you set your stuff down and go to your dressing room to try and call Tyler again. He didn’t pick up so you decided to leave a voicemail, “ Hey, Ty. I just finished soundcheck. The show starts in 30, hope you’ll be here before I go on,” You say before hanging up.

You hear a knock at your door, “Yes?” You say. The door opens to the four Sunset Curve boys walking in.

“That was amazing,” Luke says.

“And Twisted Island is a cool band,” Reggie adds.

“Not as cool as you,” You say half excitedly.

“You good Y/N?” Luke asks as you look at your phone.

“Yeah. Just uh, waiting for Tyler to get here and a little pre-show jitters. You know, the usual,” You say. Luke notices the sadness in your voice and looks at you with sad eyes, but you don’t notice.

“If your soundcheck sounded that good. Then your show is gonna sound twice as good,” Alex says.

“Thanks,” You say when you get another knock on your door. You open it to find Adam there.

“Hey, sorry to interrupt. I just wanted to let you know the theatre is filling and you’re going on in 15,” Adam says.

“Thanks,” You say. “Hey, guys, I’ll be right back,” You tell the boys. You follow Adam to the stage, hoping to see Tyler in the audience.

“Hey, I know you’re gonna do great, and our agent is gonna be impressed. You’ll get some offers tonight,” Adam says.

“Thanks again for this gig. It really means a lot to me,” You say while hugging Adam.

“You’re welcome. Anything for one of my oldest friends. See you in 15,” Adam says and walks away. You make your way to the edge of the wings and look out to see if you can see Tyler. Yet the reserved seat you had Adam set out was empty.

You made your way back to the dressing room and check your phone. You find a missed call from Tyler along with a voicemail. You head out of the dressing room to listen since the boys were being quite loud. “Hey, Y/N. I’m sorry I wasn’t there for soundcheck. Madonna and I just went a bit over with the writing. And then she invited me to a party. I can’t miss out on this opportunity, but I know you’ll do great tonight. Love,” The message said.

This wasn’t the first time Tyler had missed one of your gigs due to an opportunity he had himself, but this was the first time that it was just for a party. He had always supported you when you needed it, but on a big night like this, where lots of labels were looking at you, was not the night to ditch you. Especially since he personally invited a few himself, they were here but he wasn’t.

You took a few moments to take a hold of yourself before walking back into the dressing room, but as soon as you walked in you felt the mood change as all of the boy’s eyes landed on you. “You alright?” Luke asks again.

“Yeh, yeh,” You say looking at your phone.

“Hey, guys. Can I talk with Y/N alone?” Luke asks the boys and they quickly made their way out of the room.

Luke walked up to you and took your hands in his, “It’s just us now. Tell me, are you ok?” Luke asks once more.

You take a moment before responding, wishing you could lie but you knew he’d catch it, “N--no. Tyler promised he’d be here. And I was calling him to make sure he’d be here on time. But I just listened to a voicemail saying that he’s going to a party with Madonna instead,” You explain.

“You know I always thought he was a jerk right?” Luke says.

“Luke…” You sigh.

“Seriously. I don’t care what connections he has or if he really got labels to see you play tonight. He never supported you like I have, like the guys have,” Luke says.

“He has though. He’s come to my gigs before,” You say.

“Can you count the number of your gigs he’s attended on both hands? I know you’ve been to way more of his. Look, Y/N. Forget him, he never really cared for your dreams and career. If he really loves you he’d be here tonight instead of going off with Madonna,” Luke says.

“Yo--you’re right. He’s only been to three of my gigs and I’ve been the millions of his. It just makes me nervous with all these big people looking at me,” You say.

“Here,” Luke says letting go of your hands. “I’m gonna give you my bracelet. It’s my lucky bracelet. All your nerves will go away and you’ll kill it tonight. I know it,” Luke says slipping his bead bracelet on your wrist.

“You’re on in 2,” You hear someone outside of the door say. Luke kisses your forehead. You take a big sigh and head to the stage.

You wait for your cue as you see all of the people in the audience chatting away and the people from the labels scattered through the crowd. Not a moment later you’re told to make your way on stage. You walk on stage and pick up your guitar, you take a big sigh and rub your fingers across the beads on Luke’s bracelet. Once you felt calm enough and your heart started to beat a bit slower you start to strum the chords to your song “Shadows”.

Claps filled the air as you finished,” Thank you. My name is Y/N Y/L/N. That song was called Shadows, it was about me fighting my demons and getting over my stage freight. This next one is called Rose,” You say and start to play your guitar again. You play the last four songs in your set while cheers and claps filled the air.

“Thank you! My name is Y/N Y/L/N. Here is Twisted Island!” You say after you finish your set. The band members made their way onto the stage.

“Give it up for my good friend Y/N,” Adam says before you head off stage. You watched their show from backstage cheering and clapping with the audience.

As soon as the show ended you see Twisted Island’s agent walk up to you, “My name is Ashley. That was some great music. I’m glad Adam had you open for them tonight. We’ll be in touch,” She says before walking off. A few more agents had talked to you and offered you some deals or told you they’d also be in contact.

“You killed it!” Luke yells as he and the boys run up to you.

“Thanks guys,” You say with a big smile.

“Honestly I think you played better than Twisted Island,” Reggie whispers to you.

“You’re only saying that because you’re my friend,” You say.

“It’s true!” Reggie says as you head to the dressing room.

You and the boys make your way into the dressing room and you find some flowers on the table. You pick up the card and read “Heard you did a great job. Congrats -Tyler” You quickly pick the flowers out and throw them in the trash, right as the boy walked in, they all looked at you confused.

“They’re from Tyler,” You say nonchalantly. Everyone but Luke looked at you confused. The rest of the boys left, but Luke stayed behind to help you pack up.

“Thanks for the bracelet. It really helped,” You say starting to take it off.

“Keep it,” Luke says stopping you from pulling it off completely. He then goes to puck your guitar case up and the two of you head to your car. You pack your car up, drop Luke off, and head to your apartment.

~The next morning~

You wake up to hear a knock at your door. You get up and look in the peephole to find Tyler standing there.

“Hey sweetheart,” Tyler says. “What?” He asks noticing the pissed look you had plastered on your face.

“You missed the biggest night of my life. You’re lucky that a lot of labels are interested in me,” You say monotone.

“Sorry, I just couldn’t--” He starts.

“No. I sick and tired you not supporting me,” You say.

“I’ve been to your gigs,” He says.

“You’ve been to three of the 10 of my gigs. I’ve been to all of yours,” You protest.

“Ok. I’m sorry, how can I make it up to you,” Tyler says trying to step into your apartment, but you stop him.

“I think you’re letting your fame get to your head. And if you can’t support me and be there for me while dealing with your growing fame at the same time. I don’t want to be with you,” You say sternly.

“Babe,” Tyler says.

“Look. I just landed some of the best offers I could get in life and I can’t have your lack of presence distracting me. So, I’m not really sorry. But we’re done,” You say before shutting the door in Tyler’s face. You didn’t know what to do with yourself after that but you did feel like a big weight lifted from your chest.

A few minutes later someone knocked on your door, “Tyler I told---Oh. Luke,” You say realizing it was someone completely different.

“Hey,” Luke says.

“Hey,” You say quietly while letting him inside.

“You look like you had an eventful morning,” Luke points out.

“You could say that. I...uh, just broke up with Tyler,” You say.

“Really?” Luke questions as you notice his eyes light up and you nod.

The next thing you know you feel Luke’s hands cup your face and his lips against your own. He quickly pulls away, “ Sorry….I shouldn’t have done that,” Luke says quietly.

“It’s ok. Can I be honest for a second?” You ask.

“Always,” He says.

“I’ve always known you liked me. Don’t rat him out but Alex told me like a year ago,” You say.

“And I’m guessin…” Luke says rubbing the back of his head.

“That you are my best friend and I couldn’t ask for a better guy in my life,” You say before kissing him again.

“So I take it the break up really wasn’t that bad,” Luke says after pulling away.

“Better now that you’re here,” You chuckle. Luke gives you a big smile as you return the same.

A/N: I’m sorry if there are any 1995 inaccuracies. I did my research and tried my best, please don’t hurt me haha. Anyways, I loved writing this and had ideas coursing through my brain the last 2 days. Please let me know what you think and if you would maybe like a part 2, maybe? Thanks again to Ria for requesting and thanks for reading.

#julie and the phantoms #julie and the phantoms imagine #julie and the phantoms fic #jatp #jatp imagine #reggie peters #alex mercer #sunset curve #luke patterson #luke patterson imagine #luke patterson x reader #luke patterson fanfiction

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sgt-paul · 4 years

Text

Paul McCartney Is Still Trying to Figure Out Love – The New York Times Magazine

By David Marchese, Nov. 29, 2020

Paul McCartney, like the rest of us, this year found himself with an unexpected amount of time stuck indoors. Unlike the rest of us — or most of us, anyway — he used that time to record a new album. The pandemic-induced circumstances of its creation may mark “McCartney III” as an outlier in the former Beatle’s catalog, but as its title suggests, it does have precedents: Like “McCartney” (1970) and “McCartney II” (1980), the album, out Dec. 18, was primarily recorded by McCartney alone, with him playing nearly all the instruments and handling all the production. “At no point,” McCartney said, “did I think: I’m making an album. I’d better be serious. This was more like: You’re locked down. You can do whatever the hell you want.” Which was a gas, as always. “What I’m amazed with,” McCartney explained, “is that I’m not fed up with music. Because, strictly speaking, I should have gotten bored years ago.”

It seems to me that working on music by yourself, as you did on the new album, might allow for some insights about what you do and how you do it. So are there aspects of “McCartney III” that represent creative growth to you?

The idea of growing and adding more arrows to your bow is nice, but I’m not sure if I’m interested in it. The thing is, when I look back to “Yesterday,” which was written when I was 21 or something, there’s me talking like a 90-year-old: “Suddenly I’m not half the man I used to be.” Things like that and “Eleanor Rigby” have a kind of wisdom. You would naturally think, OK, as I get older I’m going to get deeper, but I’m not sure that’s true. I think it’s a fact of life that personalities don’t change much. Throughout your life, there you are.

Is there anything different about the nature of your musical gift today at 78 than in 1980 or 1970 or when you first started writing songs?

It’s the story that you’re telling. That changes. When I first said to John, “I’ve written a few songs,” they were simple. My first song was called “I Lost My Little Girl” — four chords. Then we went into the next phase of songwriting, which was talking to our fans. Those were songs like “Thank You Girl,” “Love Me Do,” “Please Please Me.” Then came a rich vein as we got more mature, with things like “Let It Be,” “The Long and Winding Road.” But basically I think it’s all the same, and you get lucky sometimes. Like, “Let It Be” came from a dream where my mother had said that phrase. “Yesterday” came from a dream of a melody. I’m a great believer in dreams. I’m a great rememberer of dreams.

What’s the last interesting dream you had?

Last night’s was pretty good.

What was it?

It was of a sexual nature, so I’m not sure it’s good for the Kids section. Pretty cool, though. Very interesting, dreams of a sexual nature when you’re married. Because your married head is in the dream saying: “Don’t do this. Don’t go here.” And just to let you know, I didn’t. It was still a good dream.

You know, I was conscious of not mentioning the Beatles early in this interview, and you’ve already mentioned them a few times. So let me ask you: The band broke up 50 years ago. You were in it for roughly 10 years. When you’re not doing interviews or playing concerts, how central to your own story of your life are those 10 years from half a century ago?

Very. It was a great group. That’s commonly acknowledged.

Generally speaking.

[Laughs.] It’s like your high school memories — those are my Beatles memories. This is the danger: At a dinner party, I am liable to tell stories about my life, and people already know them. I can see everyone stifling a yawn. But the Beatles are inescapable. My daughter Mary will send me a photo or a text a few times a week: “There you were on an advert” or “I heard you on the radio.” The thing that amazes me now, because of my venerable age, is that I will be with, like, one of New York’s finest dermatologists, and he will be a rabid Beatles fan. All of that amazes me. We were trying to get known, we were trying to do good work and we did it. So to me, it’s all happy memories.

“McCartney III” will come out very close to the 40th anniversary of John Lennon’s death. Has your processing of what happened to him changed over the years?

It’s difficult for me to think about. I rerun the scenario in my head. Very emotional. So much so that I can’t really think about it. It kind of implodes. What can you think about that besides anger, sorrow? Like any bereavement, the only way out is to remember how good it was with John. Because I can’t get over the senseless act. I can’t think about it. I’m sure it’s some form of denial. But denial is the only way that I can deal with it. Having said that, of course I do think about it, and it’s horrible. You do things to help yourself out of it. I did an interview with Sean, his son. That was nice — to talk about how cool John was and fill in little gaps in his knowledge. So it’s little things that I am able to do, but I know that none of them can get over the hill and make it OK. But you know, after he was killed, he was taken to Frank Campbell’s funeral parlor in New York. I’m often passing that. I never pass it without saying: “All right, John. Hi, John.”

And how about your perspective on the work you did together? Has that changed?

I always thought it was good. I still think it’s good. Sometimes I had to reassure him that it was good. I remember one time he said to me: “What are they going to think of me when I’m dead? Am I going to be remembered?” I felt like the older brother, even though he was older than me. I said: “John, listen to me. You are going to be so remembered. You are so [expletive] great that there’s no way that this disappears.” I guess that was a moment of insecurity on his part. He straightened me up on other occasions. It was a great collaboration. I can’t think of any better collaboration, and there have been millions. I feel very lucky. We happened upon each other in Liverpool through a friend of mine, Ivan Vaughan. Ivan said, “I think you’d like this mate of mine.” Everyone’s lives have magic, but that guy putting me and John together and then George getting on a bus — an awful lot of coincidences had to happen to make the Beatles.

People always ask you about John. I’ve noticed they rarely ask about George, who of course also died relatively young.

John is probably the one in the group you would remember, but the circumstances of his death were particularly harrowing. When you die horrifically, you’re remembered more. But I like your point, which is: What about George? I often think of George because he was my little buddy. I was thinking the other day of my hitchhiking bursts. This was before the Beatles. I suddenly was keen on hitchhiking, so I sold this idea to George and then John.

I know this memory. You and George hitchhiked to Paignton.

Yeah, Exeter and Paignton. We did that, and then I also hitchhiked with John. He and I got as far as Paris. What I was thinking about was — it’s interesting how I was the instigator. Neither of them came to me and said, “Should we go hitchhiking?” It was me, like, “I’ve got this great idea.”

Why is that interesting?

My theory is that attitude followed us into our recording career. Everyone was hanging out in the sticks, and I used to ring them up and say, “Guys, it’s time for an album.” Then we’d all come in, and they’d all be grumbling. “He’s making us work.” We used to laugh about it. So the same way I instigated the hitchhiking holidays, I would put forward ideas like, “It’s time to make an album.” I don’t remember Ringo, George or John ever ringing me up and saying that.

How strange is it to share an idle recollection from your youth, as you just did with that hitchhiking story, and then have the person to whom you’re sharing it — in this case, me — know the memory? It seems as though it would be weird.

It’s quite annoying, David. It’s like people at dinner yawning when I’m telling stories. This keeps happening to me.

I even know the details. You and George slept on the beach.

That’s right.

Some Salvation Army girls kept you warm.

Yes.

Then at some point you sat on a car battery and zapped your ass?

That was George who did that! I have a very clear recollection. He showed me the scar. Let’s set the record straight: It was George’s ass, and it was a burn the exact shape of a zip from his jeans.

Do you remember the last thing George said to you?

We said silly things. We were in New York before he went to Los Angeles to die, and they were silly but important to me. And, I think, important to him. We were sitting there, and I was holding his hand, and it occurred to me — I’ve never told this — I don’t want to hold George’s hand. You don’t hold your mate’s hands. I mean, we didn’t anyway. And I remember he was getting a bit annoyed at having to travel all the time — chasing a cure. He’d gone to Geneva to see what they could do. Then he came to a special clinic in New York to see what they could do. Then the thought was to go to L.A. and see what they could do. He was sort of getting a bit, “Can’t we just stay in one place?” And I said: “Yes, Speke Hall. Let’s go to Speke Hall.” That was one of the last things we said to each other, knowing that he would be the only person in the room who would know what Speke Hall was. You probably know what the hell it is.

Yep.

I can’t amaze you with anything! Anyway, the nice thing for me when I was holding George’s hands, he looked at me, and there was a smile.

How many good Beatles stories are there left to tell that haven’t been told?

There are millions. Sometimes the reason is that they’re too private, and I don’t want to go gossiping. But the main stories do get told and told again.

Can you think of one now that you haven’t told before?

Hmm. I will rake through the embers. Oh, I’ll tell you one! I thought of one this morning. It’s pretty good. I don’t think I’ve told it. You’re going to have to say in the article, “I forced this out of him,” because it’s a bit telling-out-of-school.

I am hereby twisting your arm.

So when we did the album “Abbey Road,” the photographer was set up and taking the pictures that ended up as the album cover. Linda was also there taking incidental pictures. She has some that are of us — I think it was all four of us — sitting on the steps of Abbey Road studios, taking a break from the session, and I’m in quite earnest conversation with John. This morning I thought, I remember why. John’s accountants had rung my accountants and said: “Someone’s got to tell John he’s got to fill in his tax returns. He’s not doing it.” So I was trying to say to him, “Listen, man, you’ve got to do this.” I was trying to give him the sensible advice on not getting busted for not doing your taxes. That’s why I looked so earnest. I don’t think I’ve told that story before.

Tax filings — that’s some deep arcana.

I have dredged the barrel.

I know that your goal with making music is to do something that pleases yourself. What’s most pleasing to you on the new album?

I’m very happy with “Women and Wives.” I’ve been reading a book about Lead Belly. I was looking at his life and thinking about the blues scene of that day. I love that tone of voice and energy and style. So I was sitting at my piano, and I’m thinking about Huddie Ledbetter, and I started noodling around in the key of D minor, and this thing came to me. “Hear me women and wives” — in a vocal tone like what I imagine a blues singer might make. I was taking clues from Lead Belly, from the universe, from blues. And why I’m pleased with it is because the lyrics are pretty good advice. It’s advice I wouldn’t mind getting myself.

There’s a song on “McCartney III,” “Pretty Boys,” that is kind of unusual for you in how the music is sort of unassuming but the lyrics have an almost sinister edge. What inspired that one?

I’ll tell you exactly. I’ve been photographed by many photographers through the years. And when you get down to London, doing sessions with people like David Bailey, they can get pretty energetic in the studio. It’s like “Blow-Up,” [the director Michelangelo Antonioni’s 1966 film thriller about a fashion photographer, thought to be loosely based on David Bailey] you know? “Give it to me! [Expletive] the lens!” And it’s like: “What? No, I’m not going to.” But I understand why they’re doing that. They’re that kind of artist. So you allow it. Certain photographers — they tend to be very good photographers, by the way — can be totally out of line in the studio. So “Pretty Boys” is about male models. And going around New York or London, you see the lines of bicycles for hire. It struck me that they’re like models, there to be used. It’s most unfortunate.

“Lavatory Lil” is another song I was curious about. That’s quite a title.

“Lavatory Lil” is a parody of someone I didn’t like. Someone I was working with who turned out to be a bit of a baddie. I thought things were great; it turned nasty. So I made up the character Lavatory Lil and remembered some of the things that had gone on and put them in the song. I don’t need to be more specific than that. I will never divulge who it was.

I have another bigger-picture question. In your experience, how is the love in a marriage different at different stages of your life and in different marriages?

I don’t think it’s different. It’s always a splendid puzzle. Even though I write love songs, I don’t think I know what’s going on. It would be great if it was smooth and wonderful all the time, but you get pockets of that, and sometimes it’s — you could be annoying. To Nancy I’m pretty complex, with everything I’ve been through.

In what ways?

I’m some poor working-class kid from Liverpool. I’ve done music all my life. I’ve had huge success, and people often try to do what I want, so you get a false feeling of omnipotence. All that together makes a complex person. We’re all complex. Well, maybe I’m more complex than other people because of coming from poverty.

And how do you think about money these days?

It has obviously changed. What has stayed the same is the central core. When I was in Liverpool as a kid, I used to listen to people’s conversations. I remember a couple of women going on about money: “Ah, me and my husband, we’re always arguing about money.” And I remember thinking very consciously, “OK, I’ll solve that; I will try to get money.” That set me off on the “Let’s not have too many problems with money” trail. What happened also was, not having much money, when anything came into the house, it was important. It was important when my weekly comic was delivered. Or my penpal — I had a penpal in Spain, Rodrigo — when his letter came through, that was a big event. When they had giveaways in comics with little trinkets, I kept them all. Some people would say that’s a hoarding instinct, but not having anything when I was a kid has stuck with me as far as money. You know, I’m kind of crazy. My wife is not. She knows you can get rid of things you don’t need.

You’re a hoarder?

I’m a keeper. If I go somewhere and I get whatever I bought in a nice bag, I will want to keep the bag. My rationale is that I might want to put my sandwiches in it tomorrow. Whereas Nancy says, “We’ll get another bag.” In that way, my attitude toward money hasn’t changed that much. It’s the same instinct to preserve. One of the great things now about money is what you can do with it. Family and friends, if they have any medical problem, I can just say, “I’ll help.” The nicest thing about having money is you can help people with it.

Something that has been a constant for you musically is your ability to keep coming up with melodies. It’s there on the new album — the melodies all flow. Is your facility for writing a catchy melody ever an obstacle to getting the songs to be more than just catchy? Because a good tune by itself is not always enough to make a good song. “Bip Bop” would be an example of that. Do you know what I’m saying?

No, I know. “Bip Bop” is not lyrically stunning. I was always embarrassed about that song. Literally, it goes, “Bip Bop / take your bottom dollar.” It’s inconsequential. But I mentioned that to a friend, a producer, a few years ago, and he said, “That’s my favorite song of yours.” So you don’t know what people like. It’s enough if I like it and enjoyed putting it on record and don’t particularly want to think of any more lyrics. I don’t want to sweat it. Sometimes maybe it would be better if I sweated it. Once or twice I tried to sweat it, and I hated it. It’s like, What are you doing this for?

Sixty-something years into writing songs, do you feel any closer to knowing where melodies come from?

No. There is something with my ability to write music that I don’t think I’m necessarily responsible for. It just seems to come easier to me — touch wood — than it does to some people. That’s it. I’m a fortunate man.

#paul mccartney #old paul #grandpaul #*m #(the start of the interview was pretty worrying (with him bringing up yesterday like after 5 seconds) but actually?#it turned out to be a decent one)#favourite bit hands down paul's dirty dreams. DUDE... he cannot keep it in his pants even when he is in his dreams #well actually he said he did but lmao #but yeah many other great bits. ''i'm a keeper'' ... loved that one #the complex man rant #and the john and george bits #him being the instigator #!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! i love this guy :)

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mercuryonparklane · 3 years

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I seriously debated keeping this one in the drafts...

Okay, I felt compelled to analyze the timeline of all of Taylor’s rumored/alleged boyfriends (barring any that she supposedly dated pre-fame) and why I believe they could have been fake/pr setups...

Disclaimer: this is all speculative and is just my opinion. No one has to agree... we don’t all have to agree because really the only people who know the truth are Taylor and those she has shared it with. I do have a very skeptical view of the entertainment industry and pr, so that is a bias I will own up to. I especially think Taylor, for a very long time, was willing to play along with the pr side of things, but eventually reached a breaking point (as any normal human under that amount of pressure and scrutiny likely would). Whether that means she has faked all of her public relationships or some of them or just aspects of them... I can’t really, truly know that. So, just keep in mind that this is one little, insignificant person’s view of Taylor’s public relationships and that I do not personally know any of the people involved...

Don’t take this too seriously, peeps... I’ll even tag it as crack theory...

Joe J.: June/July-September/October 2008

If nothing else this feels like a typical pr setup of two young stars. He had Camp Rock, a Jonas Bros’ album and a tour and concert film to promote. Camp Rock came out on 6/20/2008. The Jonas Bros’ third album, A Little Bit Longer, was released on 8/12/2008. In August, Taylor joined the band on stage during the filming for a concert movie that would be released in February 2009.

Taylor had an album that was released just weeks after their alleged breakup. An album which contained a few songs that would be attributed to Joe J. due to the publicity surrounding their relationship. Hmm... what a great way to drum up interest in an album that includes quite a few heartbreak songs. Not saying I know that is the case, but they both had a lot to promote between June and November 2008.

Lucas T.: March-April/May 2009

He was in the Hannah Montana movie, which was released 4/10/2009. Taylor had a cameo in that movie and also wrote a song for the soundtrack. Lucas also played Taylor’s love interest in the mv for YBWM, which premiered 5/2/2009 on CMT. He was in one of her Myspace vlogs in April 2009. IMO, this was a setup to promote the Hannah Montana movie and the YBWM mv, but it didn’t really take off. Lucas later said they dated briefly, but he realized that he just saw her as a friend...

Taylor L.: August-December 2009

They played a couple in Valentine’s Day. In September, just days after the VMAs where KW interrupted Taylor on stage as Taylor L. stood a few feet away, Taylor went to an Owl City concert at the Bowery Ballroom where she met the man who would supposedly inspire “Enchanted”. Umm... “please don’t be in love with someone else”... even though I am currently dating Taylor L. and he is my forever crush, but like, I am totally crushing on you actually. I have no clue if any Swifties have ever picked up on that discrepancy.

Oh, and Taylor L. also “dated” Selena in early 2009 and I doubt Taylor would go there, even if they ended on good terms. I mean, it’s possible, but idk it seems unlikely to me.

John M.: December 2009-February 2010

I think Taylor admired him as a musician (this seems to have been mutual with John praising her talent multiple times) and she may have seen him as a mentor at first. I do not believe that anything happened between them beyond that. I think he was so thrown off by “Dear John” because of that. He was already tweeting in the spring of 2009, hinting at wanting to collaborate with Taylor. The album their duet was on came out in November 2009, right before they started “dating”. Although it wasn’t released as a single until June 2010.

Besides, Liz (friend or otherwise) has remained a fan of John and even went to his concert a few years back. So, either she didn’t care that he screwed one of her supposed good friends over or it didn’t go down how people were led to believe it did.

Jake G.: October 2010-December/January 2011

Unless this relationship started much earlier than everyone has been led to believe, it is very unlikely that ATW is about him. It certainly seems to have been written prior to the maple latte/scarf/sister’s house articles that were abundant after that pap walk. Either Taylor used him as a scapegoat for a song that wasn’t about him or he was a willing participant in a pr scheme to make sure people thought the song was about him.

He couldn’t have been setup with his costar, Anne H., because she was already in a long term, committed relationship. At the time Taylor was still good pr since she was still known as a kind of girl next door, all American type with genuine talent.

I’m not saying I know for a fact it was fake. I’m saying there are plenty of reasons why I think it was. Everyone has different perspectives... mine is that this was purely a pr setup.

Will A.: sometime in 2010 and/or mid or fall 2011-January 2012 or May (?) 2012

They were likely just friends, but people did think they were dating back then. The songs that people think he wrote about Taylor (”White Dress” and “Kiss Me Slowly”) were recorded in 2010. So, if she started dating him in September 2011, which people think because the dress she wore to his May 2012 birthday party was the one she is wearing on the “Begin Again” cover art, then those songs aren’t about her. About the party dress... Sarah B., who took the picture, was also friends with the Parchute guys, so maybe the photoshoot that the picture on that cover art came from happened earlier that day.

He was friends with Liz’s ex Jason and one of his best friends is still to this day very close friends with Liz, so that’s probably how he met Taylor. I think Taylor hung out with that crew a bit back then. AND those times Will and Taylor were seen hanging out in late fall/early winter 2011, Jason and/or the other friend were there. Yes, I am saying that Taylor was hanging out with Jason in November/December 2011, just a few months after he and Liz supposedly broke up. She was also still hanging out with Liz a lot at that time and after, though, so I think it was all good.

Conor K.: July 2012-September/October 2012

This was Taylor’s worst pr. If it was a real relationship... it is borderline predatory. If it is fake... still a big yikes... I don’t have much to say about this one. I think it was fake and an attempt at making him the muse for “Starlight” (how cute, this song she wrote about his grandparents sort of became about them), “Begin Again” (nevermind that the copyright record say the song was written in 2011), and EHC (nevermind that the song was written in May 2012). It would have been great pr, though, if he was a couple years older. Taylor should have fired Paula after this one... (because the public should have never known about it, real or fake).

Harry S.: November 2012-January 2013

Similar to all the others before (and after), there were “random” sightings, including a birthday trip to “the lakes” and blatant pr (go on and wear that fox sweater and paper airplane necklace, Taylor...). That NYE kiss, though...

Calvin: February 2015-May/June 2016

Taylor finally dropped her old publicist and brought on Tree. First step, was to erase the “boy crazy”/“man eater” label (and possibly the “professional beard” label) and become an independent woman who just wants to have fun with her gal pals. It got a bit gayer than expected (whether Kaylor was really a thing to some degree or not is irrelevant to the point). The gay rumors were actually catching on even faster and people were like “oh, that’s why she couldn’t keep a man” (sexist/homophobic as all of this is/was, ofc).

Enter Calvin... a playboy DJ who some might deem “tall and handsome as hell” (peeps, I am not really the best judge of a man’s attractiveness, so this is just how I think people see him). He seems sooo straight. I don’t know how else to say it. All of her other supposed boyfriends had gay rumors, whether or not those rumors were just people gossiping or had some basis in reality... I think he is the only one that doesn’t have them, that I know of anyway.

I know a lot of people think they were really together, but I think this was an attempt to have her in a more serious, long term relationship to counteract both the gay rumors (not necessarily as a cover for a woman because I don’t think all of the guys have been or need to have been covers for a secret relationship with a woman, it’s about appearing straight) and the “can’t keep a man” narrative that had followed her around. Even if they were in some sort of situationship (not what I think, just theorizing here), it wouldn’t have been a steady thing and they seemed to not like each other very much when all was said and done.

I still laugh that he said Taylor was the opposite of his type (and specified that he likes brunettes) in November 2014 and then he allegedly dated her for almost a year and a half, starting literally a few months after he made that comment. If that was a real relationship, he was either playing it cool when he said that or he misjudged her or Taylor was determined to date him because it was a challenge.

Either way, it seems like her team controlled the public narrative and maybe Calvin was okay with that at first, but over time it seemed like he wasn’t a big fan of that. Maybe that visit to the strip mall massage parlor was a bit of a rebellion...

At least they both got some royalties out of it...

Joe A.: September 2016-Present

Taylor’s team absolutely has control of the public narrative and he seems okay with that. He is a literal mirrorball. He is whatever Taylor supposedly says he is in her songs/whatever Swifties want him to be.

He likes to drop fun facts like how his family jumps into a freezing pond at Christmas or that he worked at a yogurt shop as a teenager. Whether they are real or not... he seems to be playing into the pr. Dropping little bits of information that will tie him to her songs... it is very “maple latte”/“paper airplane necklace”/dark jeans and Nikes... OR Taylor is just taking the few facts people know about him and using it to pin songs on him.

If he is a beard (which imo he likely is), I think he gets along with Taylor and doesn’t mind the minimal pr of it all.

I don’t think he is WB, either way...

Again this is just my view of things. This has no bearing on which women Taylor may have dated. I could do a separate post on what I think that timeline might look like.

One point I will reiterate is that I do not think that a beard would always be a cover for a secret relationship with a woman. I think it sometimes is, but it can be more of a general cover for someone who is gay. So many people think Taylor is the straightest person who has ever lived simply because of her public dating record. I mean, heteronormativity and homophobia also play a big part in that...

Edit: I completely skipped Tom lol. I just don’t buy that one either. Maybe he thought it would be good publicity or maybe he was led on to think it was more real than it was or maybe he was just having fun. Idk. All kinds of articles written about them at the time included some caveat about how they seemed fake or were maybe filming something...

#gaylor crack theory

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transbian-uprising · 4 years

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Some of my own Danganronpa non-despair AU headcanons/imagines this time! (THH edition)

I was inspired, so I decided why not write down some headcanons/imagines/character adjustments for my Danganronpa non-despair AU! I’m gonna be doing this as a series, starting with the THH characters, then the SDR2 characters, then the V3 characters (although I will mention characters from other games in my headcanons). Enjoy!

Makoto Naegi | 苗木誠

He’d definitely lend a listening ear to whoever wanted to vent to him.

When he first comes to Hope’s Peak, he’s such a fanboy over everyone

He has an inferiority complex and self worth issues because he’s surrounded by insanely talented students, but Sayaka and Kyoko quickly help him get over that

He’s pretty good at keyboard, and plays alongside Sayaka a lot

He actually got noticed by Kaede, who offered to teach him, which obviously he was ecstatic about

He’s the only one in Class 78th, and possibly all of Hope’s Peak, who is neurotypical

Sayaka Maizono | 舞園さやか

Her and Makoto are basically best friends

She’s still a total cinnamon roll, but she loves to play little pranks on the rest of Class 78th and have a good laugh over it

She, Ibuki, Leon and Kaede tried to form a music group together but they fell apart really quickly due to their different styles

She has a huge crush on Makoto, but she’s afraid to admit it

Leon Kuwata | 桑田怜恩

He’s almost always the only one in class, just so he can avoid playing baseball

Ibuki taught him guitar and he’s been playing nonstop ever since

He *tries* to get along with Sayaka, but prefers hanging out with Ibuki since they almost always end up playing together

Everyone in Class 78 calls him the Ultimate Guitarist because... reasons

Toko Fukawa | 腐川冬子

She doesn’t have the weird thing for Byakuya in this au

She doesn’t slut shame the girls either

She’s still really shy tho

She initially dislikes Hifumi for writing fanfic, but they eventually bond over their mutual love for writing

She’s also close with Tsumugi, and the two of them collaborated to write a book that was loosely based on Tsumugi’s favorite anime

Genocider Syo is friends with Sonia, but she’s a bit put off by Sonia’s obsession with her and other serial killers

Kiyotaka Ishimaru | 石丸清多夏

Initially, the rest of the class shys away from him because he has a stick up his ass about the rules, but Mondo and Chihiro quickly befriend him

After a while, he loosens up a bit, but he never stops being the Ultimate Moral Compass

He tries to bond with the class by telling jokes, but he’s always super awkward with it and is usually unsuccessful

He’s SUPER gullible — he’ll believe anything anyone tells him, and you better believe Class 78 uses that to their advantage

Once, he dyed his hair white on a dare, and ended up liking it and kept it that way

He also tries to do impressions of his classmates (mostly Mondo) but, again, is painfully bad at it

Everyone actually finds these funny tho

Mondo Oowada | 大和田紋土

He, surprisingly, likes to play card games, which everyone was shocked to find out

Except Celeste, who is fascinated by his interest

He’s very protective of his friends, and will do anything for them

Especially Taka and Chihiro, his two best friends

He’s an amazing hairstylist, and secretly loves to play with and style people’s hair

Everyone in all of Hope’s peak knows to go to him for hair care tips and tricks

He also taught Chihiro how to ride a motorcycle the two of them rode around together a lot, until Taka ratted them out

He still hasn’t forgiven Taka for that

Chihiro Fujisaki | 不二咲千尋

In this au, he’s a bit more open about his gender, but still has loads of insecurities

At first, he’s completely in the closet, but after rumors spread online about him being a boy, he decides to live as himself and goes to Mondo for help

Mondo became his first real friend to him because of this, and him (and eventually Sakura too) helped him become strong

Eventually, he became an honorary member of Mondo’s gang and would often hang out with them in his free time

His hidden talent is being a voice actor, but he’s super embarrassed to talk about it since he’s the Ultimate Programmer

His first voice role was in a video game he developed himself, which led some talent scouts to notice him

He eventually voiced in several anime and video games, some of which he also helped develop

He’s almost as passionate about acting as he is about programming, but the only people he feels comfortable talking about it to are Hifumi and Tsumugi, who both become huge fans of his, and Mondo and Taka

When he found out Junko had created Monokuma, he was fascinated and offered to help her with ironing out all his kinks

He, Chiaki, Mukuro and Miu also created the Exisals in this au, for the sole reason of fooling around

Although, Chihiro himself was a bit intimidated by his creation at first, but after Tsumugi and Junko pressured him to try one out for himself, he fell in love

Yasuhiro Hagakure | 葉隠康比呂

He’s less of a dumbass in this AU, although he still has a tendency to get himself in sticky situations

Celeste and Hifumi played a prank on him by getting him to dress up in the Robo Justice suit and go around scaring people, but it backfired after Hiro fell down the stairs and broke his leg

Being the only one in the class who can, he often buys wine for Celeste and Mondo (and whoever asks, but only those two ever do)

He and Mondo use the same hair gel, so sometimes he’d take Mondo’s without knowing, which would lead to some awkward misunderstandings

Interestingly, he once predicted the world would end and they’d all end up dead, but that never ended up happening

That’s where the “30% accurate” thing came from— before that he was almost always right

He constantly makes jokes about being an old man (even though he’s only in his early twenties)

Hifumi Yamada | 山田一二三

He’s no longer solely attracted to anime characters, but he still loves them very much

He’s also nicer in this au

He’s besties with Tsumugi, and they bond over their love of anime and fiction

He’s also a huge fan of Chihiro’s, after he found out Chihiro was on the development team for his favorite game AND voiced two of his favorite anime characters

Low key has a crush on Celeste

Angie constantly makes jokes about how his first name is just “one two three” in Japanese

Whenever he’s watching an anime Chihiro was in, he’ll hound him with questions about what it was like recording, which Chihiro doesn’t mind because he doesn’t get to talk about his voice work a lot

Someday he wants to write and direct his own anime, and Tsumugi and Toko give him a lot of writing tips

He formed a LARP group with Gundham, Tsumugi, Chihiro, Junko, and Kaito

Celestia Ludenberg

She doesn’t treat Hifumi like a servant in this AU, but she’s still mean af and has a superiority complex

She eventually revealed her true identity to the class after she got inspired by Chihiro, but it didn’t change anything with her classmates

Except Hiro, who constantly made jokes about them having the same name, much to Celeste’s annoyance

She occasionally brings Grand Bois Chéri Ludenberg to school with her, but she doesn’t let anyone except Hifumi, Sonia and Gundham pet him

She high-key has a crush on Sonia

She doesn’t actually know how to do her own hair, so she has to get Mondo to do it for her

Sakura Oogami | 大神さくら

She and Tenko become friends SO QUICKLY because of their shared passion for martial arts

She’s still friends with Aoi tho

The three of them hang out together a lot

She and Tenko developed a new form of martial arts combining Neo-Aikido and Sakura’s own style, which they named the Oogami Method

Junko bullied her because of her ripped uniform, but after she explained that nothing would fit her, Junko offered to have one made for her

Kyoko Kirigiri | 霧切響子

She and Shuichi are very close, obviously

She gives Shuichi a lot of pointers on improving his investigative skills, and they work together often to solve cases

She and Makoto still become close, but their friendship is overshadowed by her and Shuichi’s

She notices this after a while, and makes a concerted effort to spend more time with Makoto

She’s less distant in this AU, but she still tries not to show her emotions

Her hair is naturally black in this AU, she dyed it purple after she lost a bet (with Celeste)

Aoi Asahina | 朝日奈葵

In this AU, she doesn’t just love donuts, but she loves all sweets

She was a fan of Junko’s before coming to Hope’s Peak, and the two of them became friends quickly

She and Akane are also close, and everyone jokes that they’re sisters, though in reality they aren’t

She once got recruited by Kaito to be in a play his class was putting on, but she’s such a terrible actor that they gave her part to Junko

She once walked in on Junko and Mukuro testing out Monokuma for the first time, and they were super freaked out, but Aoi was fascinated and wanted to try controlling him

Mukuro was against it, but Junko was cool with it, so she got to in the end

Byakuya Togami | 十神白夜

He and Makoto are both obsessed with true crime, and the two of them actually become friends because of that

They both love digging into Hope’s Peak’s files and his family’s files to find mysteries they could try and solve

Sonia joins them a lot too

He unofficially became the class’s French teacher after they found out he was fluent

He’s nicer in this au, and he’s kind of the dad of the class

When the Imposter was impersonating him, the two of them got into a little mini-war over who was the superior Togami (Twogami surprisingly won that war, albeit barely)

Mukuro Ikusaba | 戦刃むくろ

She’s away from Hope’s Peak A LOT, usually doing soldier things

When she is at Hope’s Peak, she spends most of her time either developing new weapons or looking after Junko

She’s usually the one who has to clean up after Junko’s shenanigans, even though she partakes in them herself

She helps Junko with a lot of her projects, but usually she ends up working on her own things while Junko does her thing

Despite this, she loves working with her sister when she gets the chance

Her proudest achievement is the Exisals, even though she collaborated with Chihiro, Chiaki and Miu to create them

Junko Enoshima | 江ノ島盾子

While she’s obviously not Ultimate Despair in this au, she’s still very chaotic and loves causing shenanigans and playing (mostly) harmless pranks

She’s friends with Sayaka and Kokichi because of this (both she and Sayaka are members of D.I.C.E. too)

She still puts on different personas, but she does it as a joke

She’s actually a very good actress, and she loves to act, but just like Chihiro, that gets overshadowed by her Ultimate talent

She loves to build and create things, just like her sister, which is why she created Monokuma

She uses Monokuma for her pranks a lot

Sometimes she goes through severe depressive episodes where she doesn’t have the energy to leave her home, but she usually uses Monokuma as a sort of telepresence unit so she can still talk to her friends

At first, no one knew that Monokuma was her, but Aoi ended up spilling the beans

She also learned animation from Ryota, and wants to make an anime starring her, Kaito, Tsumugi, Chihiro, Mukuro and Hajime

She loves to share her projects with her friends, and often lets other people control Monokuma or model for her

She gets hurt a LOT, and usually Mikan has to care for her

Her proudest achievement is replacing the Exisals’ weapons with water guns (even though Mukuro did most of the work)

They actually decided to leave them like that afterwards, since the Exisals were only ever used by her friends to mess around in

She suffers from PTSD, and part of that is recurring nightmares that the world ended and all her friends were forced to kill each other

#danganronpa non despair au #non despair au #danganronpa #to find later

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thesuitelife547 · 4 years

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CNU “My songs match B1A4 completely…I can’t imagine anyone else singing them” [ARTICLE TRANS]

Here’s the translation to the recent interview that CNU did. You can definitely tell that they thought long and hard about what direction they want B1A4 to go in as a “new group” and you can also kind of see how he’s very sort of future facing in regard to the group. But, I hope you enjoy reading!

- Marisa

Part 1

Part 2

[t/n: I combined the two parts of the interview since the intros are the same for both parts]

The third person for this [I-Mind] is CNU (30, real name Shin Dongwoo) of boy group B1A4. CNU is the eldest and is in charge of vocals and dance in the 11-year group, B1A4. Additionally, he directs and makes music within the group as a ‘Composition Idol.’

CNU started by writing lyrics for the title song of B1A4’s second mini album ‘Beautiful Target’ and then composed the ending track ‘Seoul’ on their second full length album ‘Who Am I.’ Since then, he’s made songs in various genres and has showcased a broad spectrum of music from the emotional ‘Drive,’ ‘Call Me’ that has a trendy beat, and even the intense ‘Nightmare.’

CNU, who has been recognized for his composing ability, earnestly participated in the production of B1A4’s fourth full studio album ‘Origine’ that was released in October of last year. About the album CNU said, “I think that this album will influence the next 10 or 20 years and we tried to do music that utilized our strengths.” As a result, CNU’s name was listed in the credits of 8 of the 12 songs on the fourth full length album including the title song ‘Like A Movie.’ Thanks to that, the group’s identity was able to be in the song and even their musical maturity could be higher.

What will the future musical direction of B1A4 be? CNU has said that he wanted B1A4 to not be confined within a mold in regard to music and that even if they receive negative comments, he wants to do various things sincerely saying that he wants to create “music that listeners can look forward to.” He was also determined when he said, “I will work harder with the sense of duty that even with music, it’s not just to let the public know but also so that it can be recorded on one page of K-Pop.”

News1 met with CNU, a ‘Composition Idol’ that is full of musical greed.

It’s nice to meet you. Please introduce yourself. I’m also curious about your recent situation

I’m CNU, the eldest in B1A4 and I’m also in charge of the mother role. We made a comeback two months after I was discharged in August and we also had a concert in December. (Smile) I’m glad that we were able to do that as soon as I was discharged because it was my goal to release an album.

If you were to introduce a representative song of B1A4 as a Composition Idol?

I think it would be ‘Like A Movie,’ which is the title song of our fourth full length album that we released last October. It’s the title track of an album that we released after such a long time and I’m fond of it because it seems to fit with our situation.

I’m curious about your style of working

I tend to worry a lot when I wrote about songs so it’s a kind of progressive and aggressive style. It’s hard but it’s also fun to make songs.

How did you first start composing?

I believed that there were a lot of things boiling inside of me and at first, the way to express those things was through song and dance. Then while completely working on the stage, I gradually had the desire to write songs so I tried to write lyrics. The first time I wrote lyrics was for the title song ‘Beautiful Target’ on our second mini album. I wrote the chorus and my part for the song. That then became my momentum and I thought that I wanted to continue writing songs. So by the second or third year, I bought equipment with my own money and started composing.

What was the first song you worked hard on?

That would be the song ‘Seoul’ that appeared as the last track on our second full length album ‘Who Am I.’ At that time I didn’t think like “I have to write a song!” It was a song that I was able to comfortably write without any expectations. It’s a side track that I wrote while thinking “Should I try to make one?” It’s a song that contains what I felt after coming to Seoul. Because all of the members are from the countryside, the city of Seoul has a different meaning to us. [t/n: in case anyone might not know, the countryside in this context is just referring to anyone that’s not from Seoul] The song details my honest feelings about how I felt when I came to Seoul to become a trainee and anyone that has lived in a foreign country will agree. It’s a place where I met my members when I had no one else to lean on and it’s a place where I was able to meet the fans after I debuted. It holds the message that in this cold city I only have the members and fans to lean on.

Since you didn’t specialize in it, you must’ve struggled and had difficulties while working

[t/n: specialize as in I’m assuming be formally trained in composing]

In the beginning it was really frustrating but I fortunately have a lot of good people around me. Artist Jooyoung is my good friend from my hometown. When I was making ‘Seoul,’ I asked him a lot of questions about music. At that time he told me about what kind of equipment I should buy and he taught me a lot about how to do the beats. I learned while doing that. Jooyoung and I were in a band club together in high school and the two of us promised to do a collaboration if we both succeeded in Seoul. (Smile) Later, I worked together with Jooyoung and his close friend Gureum to create ‘Drunk on Music’ and ‘Drive’ amongst others.

You must’ve been really proud when your own self-made compositions were included in B1A4 albums

I really was. It was a time when I was into mannerisms. I had doubts about myself as a member of B1A4 wondering, “Am I doing well?” Although I was working hard since our debut, I wanted to be of more help to the team. I then did some composing and created some results. Thankfully the reactions of the members and the company was good and it was able to be put on an album. I really liked it back then.

Did you want to formally study composing afterwards?

Personally, I don’t think that the concept of learning art is established. Rather than studying about it, I think that you should share and empathize. It’s about a person who has experienced many things letting the one who hasn’t know the way. I have seen how a lot of composers have written their songs, but eventually I did what it was that I wanted to do. Their way isn’t mine. You can receive some sort of influence, but you have to create the result in your own style. When people listen to the songs that I’ve written so far, they say “This is CNU’s style.” I tried to make my own path very clear.

When listening to the songs you made such as ‘Seoul,’ ‘Drive,’ ‘Nightmare,’ and ‘Sparkling,’ the genres and colors are all different. I can feel that you have a desire to create a variety of music

I didn’t intentionally attempt multiple genres, but I just made the music that I like and it could have been felt as being varied. Personally, ‘Nightmare,’ that was on our third full length album ‘Good Timing’ was a challenge for me as well. Who would’ve thought that B1A4 would do music that had a reggae beat? It was a style that I definitely wanted to try at least once and thankfully everyone liked it after I made it. I do have a greed and desire to broaden the spectrum with a variety of music.

What would you say is the biggest feature or differentiated color of music that you’ve made?

That it seems like music that has been specially made for B1A4. That’s also the part that I consider the most important when writing a song. I always worry about how I should incorporate the member’s voices into a song. I can’t imagine other people singing it because it completely matches with our tone. That’s why I don’t even think about giving songs to others.

Up until now you’ve only participated in the side tracks, but starting from your fourth full length album ‘Origine,’ you’ve become more proactive in creating songs. You participated in 8 of the songs and even made the title song therefore I’m curious about the process

It’s an album that took 3 years, from before I went to the army until it got released. The original goal was to announce it before my enlistment, but it took a long time because I went earlier than expected. I prepared the album all the way until I went to the army. I thought about it every day. When I was on vacation I wrote songs in the studio with a friend named Wooram and then I’d return and when I was on vacation again, I’d record. That’s the way I worked on it. I even asked the members to write songs and participate in creating the album. Personally, it was important because I thought about the album as something that will influence the next 10, 20 years of B1A4 so I thought about the direction. After thinking about it, we tried various things by using our strength as an ever-changing group. Even while feeling the weight of the year, we made a lot of effort for different music that will be further anticipated in the future. [t/n: I’m pretty sure the year that they’re talking about is the year that they became 3]

In the process of creating the album, was there no difference in opinion from Sandeul or Gongchan?

It matched well with the members. Although there were times when our opinions were slightly different, our desired directions and flows were the same. And because the company also agreed with our opinions, we were able to work while receiving more strength.

Out of the many songs, is there a reason why the title should have been ‘Like A Movie?’

Since it had been a while, I thought about songs that had our existing color and ones that had a different color and I felt like ‘Like A Movie’ seemed like the best in terms of B1A4’s new direction. Honestly, ‘Like A Movie’ is a dynamically composed song that has a melody line and no rap. Not having a rap is a big change in regard to idol music. Because we can’t help but think about that year, there is a sense of that weight but since we wanted to express B1A4’s unique charm, we made a new attempt. I don’t have any regrets because we gave forth all of our efforts. (Smile)

What is the most memorable compliment you have ever received for your songs?

In my final months of the military, I completed ‘Like A Movie’ and played it for the members. After I had come back, I had asked the president, executives, and successors to take a listen to it. When the song was over, all of them said that it was awesome. The successors may not be very objective (Smile) but I still can’t forget that expression. And I asked for a professional evaluation from the military band and was proud when they said that the rhythm and melody line was good. Even the boss praised me saying that it was really good and I gained strength from that.

What would be the song that became a turning point for Composition Idol CNU?

It would be the fan song ‘A Day of Love’ that I made before I enlisted. It contains the message that I want to convey to the fans without being convoluted. Just like how BANA always think about B1A4, we also expressed our feelings of always thinking about the fans when we’re eating, when the wind blows, and in every moment of our daily lives. It’s a song that was made with honesty.

Out of all of the songs you’ve worked on, what is the song that you like the most?

The song that I’m most fond of always changes but right now it’s one of Sandeul’s solo songs, ‘Oblique Line.’ It’s a song that contains the feelings that I had during various changes. I had written it before joining the military and I had given it to him because when he listened to it, he said he really liked it and wanted it.

With the fourth full length album you decided to do music that was different from the usual music B1A4 released thus far. What kind of songs do you want to do in the future?

I hope that B1A4 is a group that doesn’t become confined to a mold. It’s my goal to make music that is unpredictable and causes future anticipation of “What kind of songs will they release?” I want to try an unlimited amount of various things and even if there is a negative reaction and we get scolded [t/n: scolded from the public], I have a big desire to try just that.

Do you have an artist that you wish to collaborate with?

There is an artist that I really wanted to collaborate with, but we collaborated on our fourth full length album. That would be Bibi who participated in my solo song ‘Zero Gravity.’ When I was in the military, I listened to their music and wanted to work with them so I asked for her to feature in my solo song and thankfully that worked out. When we went to record, I’m very thankful that Tiger JK-sunbae and Biji-sunbae gave all sorts of advice and I fell for both of them. Besides for BiBi, if there’s an opportunity, I’d like to collaborate with my role model, Taeyang-sunbae.

There’s not many Composition Idols in today’s idols. Is there someone’s songs that you want to compliment?

It would be ONF’s MK. When MK makes a song, he works really hard on it. Before, when ONF received a vacation, MK didn’t go and rest, but he stayed at the company to work. When I saw that, I felt his passion.

Please express your determination for future activities as a singer and composer

When I first said that I wanted to become a singer it was because I was simply thought that singing and dancing on stage was fascinating and cool therefore I set my mind on only becoming that. However, if you now ask me about what energizes me to make music, the answer would be BANA. Because the fans are there, I’m motivated and receive strength when I’m working or try to make music. I’m very thankful for that. I also try to be careful as I think that the activities that we do can have an affect on many people. I will work harder with the sense of duty that even with music, it’s not just to let the public know but also so that it can be recorded on one page of K-Pop.

#b1a4 #article #translation

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fyeah-bangtan7 · 4 years

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The Boundless Optimism of BTS

IT IS THE MORNING OF CHUSEOK, A KOREAN HARVEST FESTIVAL akin to Thanksgiving, and the members of BTS would normally be spending it with their families, eating tteokguk, a traditional rice-cake soup. Instead, Jin, 28; Suga, 27; J-Hope, 26; RM, 26; Jimin, 25; V, 24; and Jung Kook, 23, are working. Practicing. Honing their choreography. In a few days, the biggest musical act in the world will perform in the live-stream concert that, for now, will have to stand in for the massive tour they spent the first part of this year rehearsing. At this moment, they’re seated inside Big Hit Entertainment headquarters in Seoul, South Korea, the house they built, dressed mostly in black and white, ready to answer my questions. They’re gracious about it. And groggy.

Before I’m done speaking with them for this story, BTS will have the number-one and number-two songs on the BillboardHot 100, a feat that’s been achieved only a handful of times in the sixty-odd years the chart has existed. Their next album, Be, is weeks away from being released, and speculation about the record, the tracklist, the statement, is rampant across the Internet. BTS are, to put it mildly, huge.

There is something about complete world domination that can really cement a friendship. What jumps out at me as I connect with the members of BTS is their level of comfort with one another. Tension has a way of making itself evident—even over Zoom, even through a translator. There’s none to be found here. They are relaxed in the manner of family. Lounging with their arms around each other’s shoulders, tugging on each other’s sleeves, fixing each other’s collars. When they speak about one another, it is with kindness.

“Jimin has a particular passion for the stage and really thinks about performance, and in that sense, there are many things to learn from him,” J-Hope says. “Despite all the things he has accomplished, he still tries his best and brings something new to the table, and I really want to applaud him for that.”

“Thank you for saying all these things about me,” Jimin responds.

Jimin turns his attention to V, explaining that he is “loved by so many” and describing him as one of his best friends. Suga jumps in, sharing that Jimin and V fight the most among the group. V replies, “We haven’t fought in three years!” They tell me this distinction now belongs to Jin and Jung Kook, the oldest and youngest members. “It all starts as a joke, but then it gets serious,” Jimin says.

Jin agrees and recounts what their arguments sound like. “Why did you hit me so hard?” he says, before mimicking Jung Kook’s response: “I didn’t hit you that hard.” And then they start hitting each other. But not that hard.

Since the start of their careers, BTS have shown a certain confidence in their aesthetic, their performances, and their music videos. It’s right there in the name: BTS stands for “Bangtan Sonyeondan,” which translates to “Bulletproof Boy Scouts,” but as their popularity grew in English-speaking markets, the acronym was retrofitted to mean “Beyond the Scene,” which Big Hit has described as “symbolizing youth who don’t settle for their current reality and instead open the door and go forward to achieve growth.” And their affection with one another, their vulnerability and emotional openness in their lives and in their lyrics, strikes me as more grown-up and masculine than all the frantic and perpetual box-checking and tone-policing that American boys force themselves and their peers to do. It looks like the future.

“There is this culture where masculinity is defined by certain emotions, characteristics. I’m not fond of these expressions,” Suga tells me. “What does being masculine mean? People’s conditions vary day by day. Sometimes you’re in a good condition; sometimes you aren’t. Based on that, you get an idea of your physical health. And that same thing applies mentally. Some days you’re in a good state; sometimes you’re not. Many pretend to be okay, saying that they’re not ‘weak,’ as if that would make you a weak person. I don’t think that’s right. People won’t say you’re a weak person if your physical condition is not that good. It should be the same for the mental condition as well. Society should be more understanding.”

When I hear these words in October 2020, from my house in a country whose leader is actively trying to make the case that only the weak die of COVID-19, well, it sounds like the future, too.

IF YOU ARE JUST NOW CONSIDERING GETTING INTO BTS, IT IS natural to feel overwhelmed by the sheer amount of stuff. It’s a bit like saying, right this second, “Let’s see what Marvel Comics is all about.” In the streaming age, BTS have sold more than twenty million physical units across fourteen albums. Their multi-album concept cycles, The Most Beautiful Moment in Life, Love Yourself, and Map of the Soul, have unfolded over multiple records and EPs. There are collaborations with brands, including a BTS smartphone with Samsung. There is a series of short films and music videos, called BU, or BTS Universe, and an animated universe called BT21, in which they’re all represented by gender-neutral avatars. Their fan base, known as ARMY, is a global cultural movement unto itself.

“Dynamite,” their first English-language single and their first American number one, is pure, ecstatic pop. Shiny and joyful. What sets them apart from many of their peers, and many of the pop acts who achieved worldwide fame before them, is what came earlier. Beneath the sheen and the beats has always been an unflinching examination of human emotion. Their lyrics seek to challenge the conventions of society—to question and even denounce them. BTS’s first single, “No More Dream,” unveiled at their debut showcase in June 2013, concerns the intense pressure South Korean schoolchildren face to conform and to succeed. According to Suga, lyrics about the mental health of young people were mostly absent in Korean pop music. “The reason I started making music is because I grew up listening for lyrics that speak about dreams, hopes, and social issues,” he tells me. “It just came naturally to me when making music.”

Suga’s early ambition of making music didn’t involve him being in a group at all. About a decade ago, in his hometown of Daegu, the fourth-largest city in South Korea, he started recording underground rap tracks under the name Gloss, listening to and learning from the early works of songwriter and producer Bang Si-hyuk, known as Hitman Bang. Bang is the founder and CEO of Big Hit Entertainment. In 2010, Suga, a junior in high school, moved to Seoul to join Big Hit as a producer and rapper. Then Bang asked him to become part of a group, envisioning a hip-hop act with fellow new Big Hit recruits RM and J-Hope. The guys call this “season one” of their development.

“At that time, I don’t think our label exactly knew what to do with us,” RM says. “They just basically let us be and we had some lessons, but we also just chilled and made music sometimes.”

It got more intense. The family grew, occasionally by accident.

V accompanied a friend to a Big Hit casting call in Daegu for moral support and ended up being the person chosen from those sessions.

Jung Kook was signed in a feeding frenzy after being dropped from the talent show Superstar K, fielding offers from numerous entertainment companies before settling on Big Hit because he was impressed by RM’s rapping.

Jimin was a dance student and class president for nine years running at his school in Busan; he auditioned at the behest of his teacher.

And then, to hear him tell it, Jin got picked up off the street. “I was just going to school,” he says. “Someone from the company approached me, like, ‘Oh, this is my first time seeing anyone that looked like this.’ He suggested having a meeting with me.”

“Season two is when we officially underwent hard training,” J-Hope says. “We started dancing, and that’s how I would say our team building started.”

School in the daytime, training at night. “We slept during classes,” V says.

“I slept in the practice studio,” J-Hope counters.

Hitman Bang kept the pressure comparatively low. And he encouraged the guys to write and produce their own music, to be honest about their emotions in their lyrics. Suga is on record saying that no BTS album would be complete without a track that scrutinizes society.

And yet for their new album, Be, they’re putting that aside. Even this has a greater purpose that relates to mental wellness: RM, the group’s main rapper, says, “I don’t think this album will have any songs that criticize social issues. Everybody is going through very trying times right now. So I don’t think there will be any songs that will be that aggressive.”

Though the new rules of COVID-19 mean they can’t come here and promote Be, its first single might not have happened in the first place but for the pandemic. “ ‘Dynamite’ wouldn’t be here if there was no COVID-19,” says RM. “For this song, we wanted to go easy and simple and positive. Not some, like, deep vibes or shadows. We just wanted to go easy.”

Jin agrees. “We were trying to convey the message of healing and comfort to our fans.” He pauses. “World domination wasn’t actually our plan when we were releasing ‘Dynamite.’ ” World domination just happens sometimes. You get it.

MAP OF THE SOUL ONE AIRED VIA THEIR ONLINE FAN PLATFORM and attracted almost a million viewers across 191 countries. The guys say they tried not to think about the enormousness. J-Hope adds, “I felt a little bit more nervous knowing that this was being broadcast live. I actually feel less nervous performing live at a stadium.” Jin replies with a smile, “J-Hope, born to perform at a stadium.”

The graphic layout of the title throws a colon between the final N and E, which makes it look like Map of the Soul On: E, and as I watch it live, as I do in my office at 3:00 a.m. with noise-canceling headphones and a steaming pot of coffee, it feels a lot like I’m watching Map of the Soul on E. It is an explosion of color and fashion and passion, over four gigantic stages, from the boozy swagger of “Dionysus” to the emo-trap introspection of “Black Swan.” Not a step, not a gesture, not a hair is out of place. If there were nerves, they didn’t come through.

There is also, at the end of Map of the Soul One, an intimate version of their 2017 track “Spring Day,” which encapsulates what’s really made BTS stand out. On the surface, it’s about nonspecific love and loss, about yearning for the past. “I think that song really represents me,” says Jin. “I like to look to the past and be lost in it.”

Fair enough, but there is an undeniable allusion, in both the song’s video and its cover concept, to a specific incident in recent South Korean history. “Spring Day” was released just a few years after the sinking of the Sewol ferry, one of the country’s biggest maritime disasters, in which a poorly inspected, overloaded ferry toppled in a sharp right turn. Hundreds of high school students drowned, having obeyed orders to stay in their cabins as the boat was going down. According to some reports, the South Korean government actively tried to silence entertainers who spoke out against it, with the Korean Ministry of Education fully banning the tragedy’s commemorative yellow ribbons in schools. I ask whether it was about a specific sad event, and Jin tells me, “It is about a sad event, as you said, but it is also about longing.” The song kept the disaster front of mind for young Koreans and for the media, indirectly leading to the impeachment and removal of then president Park Geun-hye.

If an overburdened, undermaintained, slow-moving vessel capsizing because of a reckless rightward turn strikes you as somehow symbolic of the country in which BTS are about to explode even further, you won’t hear it from them. “We’re outsiders—we can’t really express what we feel about the United States,” says V. But their actions speak volumes; in the wake of the George Floyd murder and subsequent protests in America, the group made a $1 million donation with Big Hit Entertainment to Black Lives Matter, one that was matched by BTS ARMY.

The fans offer a fascinating inversion of stan culture: Rather than bullying rivals like many other ardent online fan bases do, ARMY have put the positive message of the music into action. Their activism goes deep. Through micro-donations, they’ve regrown rain forests, adopted whales, funded hundreds of hours of dance classes for Rwandan youth, and raised money to feed LGBTQ refugees around the world. Where pop fans a generation ago might have sent teddy bears or cards to their idols for their birthdays, where five years ago they might have promoted a hashtag to get a video’s YouTube viewer count up, for RM’s twenty-sixth birthday in September, international fan collective One in an Army raised more than $20,000 for digital night schools to improve rural children’s access to education during the COVID-19 crisis. ARMY may have even entered the conversation around the 2020 presidential election when hundreds of thousands of Tulsa Trump rally tickets got snapped up online in June. The event’s actual attendance was pathetically low. No particular person or entity claimed credit for this top-notch trolling, but a video urging BTS fans to RSVP to that rally did get hundreds of thousands of views. We have no choice but to stan this fan base.

The relationship is intense. “We and our ARMY are always charging each other’s batteries,” RM says. “When we feel exhausted, when we hear the news all over the world, the tutoring programs, and donations, and every good thing, we feel responsible for all of this.” The music may have inspired the good works, but the good works inspire the music. “We’ve got to be greater; we’ve got to be better,” RM continues. “All those behaviors always influence us to be better people, before all this music and artist stuff.”

Yet for every devoted member of BTS ARMY, there is someone who’s looked right past BTS. Jimmy Fallon, whose Tonight Show hosted the group for a full week this past fall, was one of those people. “Usually if an artist is on the rise, I hear about them ahead of time. With BTS, I knew they had crazy momentum, and I’d never heard of them.”

Here’s a thought that used to be funny to me: There were members of the live audience of The Ed Sullivan Showon February 9, 1964, who weren’t there to see the Beatles. Elvis was in the Army, Buddy Holly was gone, and the three number-one albums in the months before Meet the Beatles! were an Allan Sherman comedy record, the West Side Story original cast recording, and Soeur Sourire: The Singing Nun. America had left rock ’n’ roll behind for the moment, and with the culture aimless and fragmented, it wasn’t quite sure what to pick up in its place. It is possible to imagine that a youngish, reasonably hip, and culturally aware human being might cop a ticket to that week’s show, settle into his seat, and say, “Bring on a medley of numbers from the Broadway musical Oliver! and banjo sensation Tessie O’Shea.”

The instinct is to laugh at that guy, and it’s a good instinct, because what a dope.

And then you become that guy.

Sometimes there is a whole universe alongside your own, bursting with color you’re too stubborn to see, bouncing with joy you think is for someone else, with a beat you thought you were finished dancing to. BTS are the biggest thing on the planet right now, yet the job of introducing them to someone new, particularly in America, seems like it’s never done. Maybe it’s because they are adored by screaming teenagers and we live in a society patriarchal enough to forget that screaming teenagers are nearly always right. Maybe it’s the cultural divide, in a moment when our country is unashamed enough of its own xenophobia to get openly bent out of shape when it has to press 1 for English. Maybe it’s the language barrier, as though we understood a single word Michael Stipe sang before 1989.

Whatever the reason, the result is that you might be missing out on a paradigm shift and a historic moment of pop greatness.

IF BTS SEEM A BIT CAUTIOUS WITH THEIR WORDS PUBLICLY, IT’S because—perhaps more than any other massive pop act in history—they have to be. Shortly after our second meeting, BTS were given the General James A. Van Fleet Award by the U. S.–based Korea Society for their outstanding contributions to advancing relations between the United States and Korea. In his acceptance speech, RM said, “We will always remember the history of pain that our two nations shared together, and the sacrifices of countless men and women,” as seemingly diplomatic and innocuous a statement as he could have made. But because he didn’t mention the Chinese soldiers who died in the Korean War, it didn’t go over well. The Samsung BTS smartphone disappeared from Chinese e-commerce platforms, Fila and Hyundai pulled ads in China that featured the group, the nationalistic newspaper Global Times accused them of hurting Chinese citizens’ feelings and negating history, and the hashtags “BTS humiliated China” and “there are no idols that come before my country” began trending on the social-media site Weibo. The pressure is not small.

Even as the number-one pop group in the world, even with their hard work day in and day out, even with tens of millions of adoring fans redefining the concept of “adoring fans” by literally healing the planet in their name, these guys still suffer from impostor syndrome. RM explains, “I’ve heard that there’s this mask complex. Seventy percent of so-called successful people have this, mentally. It’s basically this: There’s this mask on my face. And these people are afraid that someone is going to take off this mask. We have those fears as well. But I said 70 percent, so I think it’s very natural. Sometimes it’s a condition to be successful. Humans are imperfect, and we have these flaws and defects. And one way to deal with all this pressure and weight is to admit the shadows.”

The music helps. “When we write the songs and lyrics, we study these emotions, we are aware of that situation, and we relate to that emotionally,” J-Hope says. “And that’s why when the song is released, we listen to it and get consolation from those songs as well. I think our fans also feel those emotions, maybe even more than us. And I think we are a positive influence on each other.”

If there’s one thing they’re sacrificing, besides free time and the ability to speak freely without the Chinese foreign ministry releasing an official statement, it’s a love life. I ask about dating, broad questions like “Are you?” and “Is there time?” and “Can you?” and the answer to all of them is pretty clear: “No.” “The most important thing for us now is to sleep,” Jung Kook insists. Suga follows right up with “Can you see my dark circles?” I cannot, because there are none, because flawless skin translates even over Zoom when there’s an ocean between us.

So they’re not, at least publicly, having romantic relationships with anyone. If there is a strong relationship that’s guided their journey into adulthood, it’s with Big Hit. “Our company started with twenty to thirty people, but now we have a company with so many employees,” RM says. “We have our fans, and we have our music. So we have a lot of things that we have to be responsible for, to safeguard.” He considers it for a moment. “I think that’s what an adult is.”

“Our love life—twenty-four hours, seven days a week—is with all the ARMYs all over the world,” RM adds.

In a world that is determined to sand down anything that isn’t immediately recognizable to the average pop-music fan, when it comes to acquainting you with Korean culture, BTS very much do not wanna hold your hand. While the first song on night one of their Tonight Show week was a joyous but expected take on “Dynamite” with Fallon and the Roots, they took some chances during their second performance.

As a friend of mine, a thirty-three-year-old BTS fan in Los Angeles, told me, “The second song they performed was ‘IDOL,’ ” from 2018’s Love Yourself: Answer, “and it celebrated their Korean identity. They performed it in Gyeongbokgung Palace in Seoul. They wore clothes inspired by traditional dresses called hanboks;it was almost entirely in Korean, so it felt super subversive. As a fan, I read it as: ‘Dynamite’ was an invitation, and this is who we are and this is our home.”

“I was a little concerned that people might not understand,” Fallon says. “I was like, ‘There’s nothing in English here.’ But what you see is just pure star power. Pure talent. Immediately, I thought, Oh, this is everything. If you’re that powerful, it transcends language.”

American popular music in the twenty-first century is more fragmented than it has been since . . . well, since Allan Sherman, Leonard Bernstein and Stephen Sondheim, and the Singing Nun battled for that number-one spot. The monoculture that the Beatles helped bring on has breathed its last breath. Each of us is the program director for our own private radio station, letting our own past habits and streaming-service algorithms serve up something close to what we want. Which is great, except that huge moments can whiz right past our ears. Each of us, even if we’re more clued in than our parents were when they were our age, can miss some era-defining, excellent shit. Particularly if the radio is our Spotify Discover Weekly, or the Pandora channel based on the band whose T-shirts we wore in college. We can let a moment pass us by if prime time is a Netflix binge, and the Tonight Show hour is spent on one more episode before bed. But we shouldn’t. “Honestly, I think it’s history that we’re living through with BTS,” Fallon says. “It’s the biggest band I’ve seen since I’ve started late night, definitely.”

THERE IS ALSO THE SMALL DETAIL THAT, UNLIKE THE BEATLES AND literally every other worldwide sensation to break in America, BTS don’t particularly need to go to the trouble. They are massive all over the world. Thanks to the recent IPO of Big Hit Entertainment, of which each member is a partner, they are all now incredibly wealthy. (Hitman Bang is the first South Korean entertainment mogul to become a billionaire.) What good is a culture in decline to a pop act this much on the ascent? “When I dreamed of becoming an artist, I listened to pop and watched all the awards shows in the United States. Being successful and being a hit in the U. S. is, of course, such an honor as an artist,” says Suga. “I feel very proud of that.”

They’re breaking out in a country that either worships them or fails to notice them. So do they feel like they’re getting enough respect in America? “How can we win everyone’s respect?” Jin asks. “I think it’s enough to get respect from people who support us. It’s similar everywhere else in the world. You can’t like everyone, and I think it’s enough to be respected by people who really love you.”

Suga agrees. “You can’t always be comfortable, and I think it’s all part of life. Honestly, we are not used to getting a ton of respect from when we first started out. But I think that gradually changes, whether it be in the States or other parts of the world, as we do more and more.”

There is, without a doubt, one colossal, unmistakable sign of respect for a musician: a Grammy. They’ve been nominated only once, and even then it was for best recording package. But their sights are set on a big one next year. RM puts it out there: “We would like to be nominated and possibly get an award.” Dragging the hoary, backward-looking, and Western-focused Grammys into the gorgeous, global world of the present through sheer force of will, talent, and hard work? Stranger things have happened. “I think the Grammys are the last part, like the final part of the whole American journey,” he says with a smile. “So yeah, we’ll see.”

The Recording Academy’s seal of approval is one thing. But BTS have already conquered the world, clowned tyrants, inspired individual fans to perform the small and achievable acts of activism that have collectively begun to save the planet, challenged toxic masculinity by leading with vulnerability, and, along the way, become bajillionaires and international idols. Whether the Grammys are paying attention matters about as much as what an Ed Sullivan audience member expected to see that night in 1964. BTS have already won.

#bangtan #jungkook #jimin #v #suga #jhope #jin #rm #o:esquire #o:interview #201123

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aion-rsa · 3 years

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My Universe: BTS & Coldplay’s Sci-Fi Music Video Explained

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BTS and Coldplay went fully, gloriously sci-fi in the music video for their collaboration, “My Universe.” In the new music video, released at midnight on September 30th, the two bands exist in a futuristic reality where music is forbidden. In spite of the ban, and with the help of a space DJ, the groups come together for a high-energy, galaxy-spanning performance of their new song.

The “My Universe” music video/short film is directed by Dave Meyers, an American filmmaker best known for his commercials and music videos, which include MVs for artists Drake, Ed Sheeran, Pink, Normani, Ariana Grande, and many, many more. High-concept, genre-driven music videos are par for the course in the visually immersive world of K-pop, but are less common in western music videos, which (save for some outliers, like Janelle Monae’s funky, political sci-fi adventures) have more “grounded,” realistic aesthetics, even when they skew fantastical. A great example of the latter is Harry Styles’ “Adore You” video. Also directed by Meyers—it has a speculative fiction premise in which Styles has a literally blinding smile, falls in love with a fish, and is able to power his sailboat using the winds of his jarred yells, but keeps its visuals down to Earth to tell its fairy tale-like story.

“My Universe,” on the other hand, embraces the science fiction aesthetics of working class space operas like Space Sweepers or Guardians of the Galaxy, with some (and I mean this as a compliment) Zenon: Girl of the 21st Century thrown in for good measure.

Rebellion is a popular theme in the space opera subgenre, and it’s one that “My Universe” embraces. The video is set in an intergalactic future in a place known where all music is banned. Three different bands—BTS, Coldplay, and a fictional alien supergroup called Supernova7—who live on three different plans defy the ban to create music together via hologram. They are hunted by The Silencers, who enforce the no-music status quo.

Most importantly, the music video doesn’t prioritize either Coldplay or BTS’ worlds. While we may visit Coldplay’s dry, graffitied planet first, where we first meet BTS in their holographic forms, we also go to BTS’ industrial-dystopia home, where Coldplay visits as holograms. The music video’s best moment, in fact, comes when we follow a flickering, holographic V from Coldplay’s planet back to his own, where he—and, with him, the six other members—bloom into more tangible form.

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The design and CGI for the video is impressive and varied, though a little too busy to fully appreciate the stunning outer space visuals, Tron-esque spaceships interiors, and alien planet-scapes. The video includes visual callbacks to the official lyric video for “My Universe,” which is beautifully designed to feature the multi-colored English and Korean-language lyrics zooming through space. The colors and premise are also reminiscent of the video serial that was part of BTS’ Muster Sowoozoo Concert in June. In the story, the seven members of BTS make their way across an alien landscape in a camper van, searching for a safe place to meet ARMY. While the Sowoozoo serial was much cozier and more chill than “My Universe” video, I’d love to hear some good head canon about how these videos exist in the same fictional universe.

What Does the “My Universe” Music Video Mean?

Both the “My Universe” song and music video have a pretty broad, easy-to-get-behind concept. The love song is about a relationship that transcends boundaries. Thematically, the idea of coming together across divisions or differences is particularly poignant when performed by bands from different sides of the planet. This is reinforced by the decision to include Korean-language lyrics in the collaboration. BTS has proven themselves more than capable of singing in English. Three of their latest hits—”Dynamite,” “Butter,” and “Permission to Dance”—are all sung fully in the English language by the Korean band. However, BTS and Coldplay chose to feature Korean-language elements as an integral part of the collaboration, emphasizing the multicultural nature of the song and its message.

The music video doubles down on the theme of people coming together despite distance and differences. In it, BTS and Coldplay (and, OK, alien supergroup Supernova 7) are excited to collaborate. Together, they make something beautiful and special that brings them joy despite the seemingly dismal worlds that surrounds them both. Here, the enemy is not difference, but a mysterious, totalitarian force that has banned all music. Personified by “The Silencers,” this antagonist can be broadly interpreted by the societal prejudices that can sometimes keep up apart, but also by a pandemic that has made the most basic rituals of togetherness more complicated. It doesn’t seem a coincidence that the fictional versions of BTS and Coldplay featured in this video are unable to be together in person. It’s a representation of the forced physical distance that has come to define much of the past few years. It’s why seeing the bands find a way, despite their harsh reality, to share a joyful experience so damn inspiring.

While the visuals of “My Universe” may be intentionally futuristic, the ability to play together across vast swathes of space is not. Just last week, Coldplay and BTS performed as part of the Global Citizen Live event. The bands were in two different countries—Coldplay in NYC, and BTS back home in Seoul—but came “together” on stage. The seven members of BTS were featured as holograms on a backdrop as Chris Martin sang both English and Korean-language parts of the song. (The Korean-language rap sections performed by Suga and J-Hope were pre-recorded.) Coldplay notably traveled to Korea to record “My Universe” during the pandemic.

“My Universe” Music Video Ending Explained

The breakout character from the “My Universe” music video is arguably DJ Lafrique, played by actress Joe Diao. DJ Lafrique is the character who is able to bring Coldplay and BTS together, across the universe. She is the most powerful figure featured in this story, and her rebellion comes at a high risk. At the end of the video, The Silencers find DJ Lafrique’s ship, which is making the intergalactic jam session possible. The Silencers’ power up their Death Star-like weapon in preparation to take out DJ Lafrique. However, BTS and Coldplay are able to buy her time by rocking out even more intensely (as you do); she powers up her hyperdrive and blips away before The Silencers can silence her forever.

The ending works for the video; it would be jarring to watch a music video featuring BTS that doesn’t end with a message of hope. The Korean band’s full name, Bangtan Sonyeondan, can be translated as “Bulletproof Boyscouts,” and the group has always seen it as one of their primary missions to act as a buffer between young people and the harsh stereotypes and pressures they face. While the group has always worked to be a balm in a harsh world, this has especially been the case since the outbreak of COVID, which has brought with it unprecedented mental health challenges. In the wake of the global crisis, BTS has worked to be a comfort to their global fandom, known as ARMY. When they released album “Be” in November 2020, member Jin said during the accompanying press conference: “Our goal with the music on ‘BE’ is that it can be a comfort to a lot of people … If many people can relate to it, I will be really thankful.”

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What did you think of “My Universe”‘s science fiction concept? Let us know in the comments below.

The post My Universe: BTS & Coldplay’s Sci-Fi Music Video Explained appeared first on Den of Geek.

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howaminotinthestrokesyet · 4 years

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Wherever They May Roam: Dave Mustaine

Dave Mustaine was born on September 13, 1961 in La Mesa, California. His heritage is that of German, Jewish, Irish, Finnish, and Scottish. His family also were practicing Jehovah’s Witnesses. His childhood growing up emerged as a very difficult one as his father embodied a violent alcoholic. His father and mother would divorce when he was only four years old. Mustaine had two sisters that were so much older than him that he thought of his siblings more as aunts. In high school, Mustaine began to use hard drugs very early, eventually working as a drug dealer. Through his customers, he began to learn about British metal bands like Judas Priest. He even had one client that would pay for his drugs with record albums. His first band emerged with Panic in the very early 1980’s. This was a very short lived group as the drummer and one of their sound techs died on the night of their second show. The band slowly started to disintegrate with the final straw being that the rhythm guitarist also died within a year. They never made any official recordings, nor a demo.

In 1981, Mustaine responded to an ad posted in a local newspaper The Recycler from Lars Ulrich seeking a lead guitarist for a new band. The guitarist recalls his first meeting with Ulrich and James Hetfield. "I was in the room warming up and I walked out and asked, 'Well, am I gonna audition or what?', and they said, 'No, you've got the job.' I couldn't believe how easy it had been and suggested that we get some beer to celebrate." They began to record their first album Kill ‘Em All in 1983, but problems had immediately come to the surface related to Mustaine’s membership in the band. Brian Slagel of Metal Blade Records recalls the recording of that album. “Dave was an incredibly talented guy but he also had an incredibly large problem with alcohol and drugs. He'd get wasted and become a real crazy person, a raging megalomaniac, and the other guys just couldn't deal with that after a while. I mean, they all drank of course, but Dave drank more… much more. I could see they were beginning to get fed up of seeing Dave drunk out of his mind all the time." The first time he was fired from the band came after he brought a dog to a recording. The dog jumped on the car of bassist Ron McGovney causing the paint job to be damaged. James Hetfield upon seeing this kicked the dog in a fit of anger, which led to a huge altercation with Mustaine. After the initial termination, he begged the other members to let him back into the group. They did grant him this request, so his firing was canceled. Another incident occurred when Mustaine poured beer into McGovney’s bass guitar, who was unaware when he began to plug it in. He then received a tremendous electric shock leading to him kicking both Mustaine and James Hetfield out of his house. The bass player would leave Metallica shortly after that. In April 1983, the group traveled to New York to record their debut album, but upon arrival they decided to officially fire Dave Mustaine from the group. They cited the reasons of alcohol and drug abuse, aggressive behavior, too many altercations. The band drove him to the Port Authority bus terminal and put the former Metalica guitarist on one back to California. The amount of collaboration Mustaine had with the band in those early days has always been a debate between the current Metalica and him. He would co-write four songs on Kill ‘Em All, as well as two more songs from Ride the Lightning. The songwriter has unsuccessfully contended that he also helped with “Leper Messiah” from Master of Puppets. Upon returning to San Francisco, he worked very briefly as a telemarketer, would leave this job upon earning enough money to get an apartment in Los Angeles. Mustaine would start a very short lived group called Fallen Angels with two of his coworkers from that telemarketing job. The group never played a live show or recorded anything as Mustaine later commented on the group. “We lacked the chemistry, the energy, the spark—or whatever you want to call it—that gives a band life in its infancy."

The guitarist would soon befriend a neighbor living a floor below his apartment that first began as a confrontation. His name was Dave Ellefson, who would soon join Mustaine‘s new lineup for what would become Megadeth. Originally, he was still utilizing the name from his previous effort, Fallen Angels. He had wanted any group that he played with now to present more thought provoking lyrics and a more precise, intense brand of metal music. A drummer Lee Rausch and guitarist Kerry King would join this initial lineup only to be replaced by Gar Samuelson and Chris Polish respectively. In the case of King, he went back to his original group, Slayer. Megadeth's debut album would be released in 1985 on Combat Records entitled Killing Is My Business. The group received a great amount of buzz that by the time they recorded the second album the band had signed to a major label, Capitol Records. The second album, Peace Sells, But Who’s Buying would go on to become a thrash metal classic earning gold record status. Throughout the 1980’s and early 1990’s, the only two members to be a constant with the band were Mustaine and Dave Ellefson. Other members of the group consistently changed from album to album as Mustaine’s addictions to drugs and alcohol only got worse. He would finally quit drugs and alcohol in the late 1990’s permanently. The amazing thing was despite these addictions, the band led by Mustaine in writing all the songs made mostly quality albums like 1992's Countdown to Extinction, 1994's Youthanasia, and 1997's Cryptic Writings. The only one that was really perceived as a mediocre effort came in 1988 with So Far So Good So What. This would be followed by Rust in Peace, which represented a record that made people think that Mustaine was finally clean and sober. Unfortunately, he would use the rest of the decade to struggle with those demons.

In 2002, the guitarist briefly disbanded Megadeth after a serious arm injury caused him to rethink how he would even be able to play in the future. He was able to successfully rehab from this injury, so the band went on, but with an entirely new lineup. This meant that long time collaborator Dave Ellefson was asked to leave the group. He would not return to Megadeth until 2010. Dave’s reasoning at the time was that he asked too much for his own songs to be played. “I hated being around these guys so when the arm injury happened, it was a welcome relief and an indication that I had to stop." In 2003, Mustaine also turned to Christianity. He began to look at other areas besides the beliefs held by Jehovah’s Witnesses. His description of this transformation was described in a way only Mustaine could possibly describe. “Looking up at the cross, I said six simple words, 'What have I got to lose?' Afterwards my whole life has changed. It's been hard, but I wouldn't change it for anything. Rather go my whole life believing that there is a God and find out there isn't than live my whole life thinking there isn't a God and then find out, when I die, that there is." As had always been the case with the band, Megadeth would release a new album every 2 to 3 years almost like clockwork. In 2010, Mustaine would release his autobiography entitled A Life in Metal. By this time, the war with former bandmates in Metallica began to thaw a bit. He would play five songs with the band at their 30th anniversary concert. A year later they would all tour together as part of the Big Four tour including Anthrax and Slayer as well. Surprisingly, the guitarist has been happily married since 1991 with a son and a daughter. More recently, health issues have come to the forefront including spinal stenosis which he claims was from years of headbanging. In 2019, Mustaine was diagnosed with throat cancer, but he says now that he is cancer free. One thing overall that has always concerned Mustaine is his legacy and place in the history of heavy metal guitarists. He has always been supremely confident in his ability as he noted in this interview. “To be the No. 1 rated guitar player in the world is a gift from God and I'm stoked about it…” In 2009, he gave an interview to Classic Rock Magazine that revealed this telling insight into the man. Mustaine was talking about learning he had been named the number one heavy metal guitarist ever in a book by Joel McIver. “It was especially sweet when I found out that Joel has written books on Metallica. Every page I turned, I became more excited. I get to Number 5 and it's Kirk Hammett, and I thought, 'Thank you, God'. At that point it didn't matter [which position I was]. To be better than both of them [James Hetfield and Hammett] meant so much – it's been one of the pet peeves of my career and I've never known how to deal with it. All I thought was – I win!" Upon reading this statement, one could partially see why Lars Ulrich and James Hetfield did not want him in the group.

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kyotakumrau · 5 years

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ROCK AND READ 087 – interview with Kyo - part 1/3

A heteromorphic anatomy tract ~the meaning of the meaningless things~

sukekiyo, another project started in 2013 by Kyo from DIR EN GREY. In 2019 they released the new audio compilation INFINTUM, toured, played in Hong Kong, will be holding a countdown live, have already announced a new tour for February next year; even though they do things in their own pace they certainly leave an impression of being very active!

Using this opportunity we will look back at sukekiyo's path.

How did they start, what has changed in those 6 years, we will discover the whole story.

Interview: Yukinobu Hasegawa

Photos: Yosuke Komatsu (ODD JOB LTD.)

Hair: Kyo

Styling and clothes: DRESSEDUNDRESSED

translation: kyotaku (if you notice any mistakes or typos please let me know!😅)

－ I thought I won't be surprised anymore by your looks, but when I came to the studio during the photoshoot I was. Incredibly.

京 Really? The truth is I wanted to do it earlier, but the timing now ended up being perfect. It's a worldview not possible for DIR EN GREY, but I thought it's fine with sukekiyo.

－ Saying you wanted to do it from a way before, has this idea kept growing inside of you over time?

京 Earlier this year I had a show as sukekiyo at Nakano SUNPLAZA, we did a collaboration with the clothes brand DRESSEDUNDRESSED, clothes for this shoot come from them as well, we planned everything together, band member clothes, the performance of the 2 masked men who came on stage.

－ What was the origin of this idea?

京 I've been thinking for a long time that it's good love has many forms/shapes. There's not only love between man and woman, but love between two men, love between two women. This is really not relevant, love knows no gender. I've had this idea for a long time. And that's why I wanted to have a photoshoot in such clothes.

－ Is it different from the so called deviant/perverted world? In the past we have talked about your childhood (ROCK AND READ 002, 2003.10). In young age you had an accident that become something like a trauma that came from love, I can really feel the love is greatly present in your feelings.

京 It might be. Thinking globally it becomes more even for the queer folks. Japan is just behind. But comparing to 10 or 20 years ago [gender] is really irrelevant.

－ Even in Japan the term LGBT has become widely known a year or two ago.

京 That's right. I'm not gay, but I have nothing against gay people. Rather [gay relationships] always seem very beautiful. Feel pure. In sukekiyo usually I sing about many types of love. So I have really nothing against it.

－ It's been about 6 years since sukekiyo started in 2013. At that time I was also able to interview you, you've been holding this idea since 3 or 4 years ago, right? Have you also seen love as your theme that time?

京 No, it wasn’t that big yet. But there were also many poems as songs with the theme of love. This feels like going deeper, getting scattered in various directions.

－ I think you were often asked in interviews how do you compartmentalize DIR EN GREY when you started sukekiyo. At that time you've said that with sukekiyo you express the feminine side. Was femininity something you couldn't express with DIR EN GREY?

京 No, it's not like that. That can’t be split so perfectly. It just happens naturally because of the colors of each band or the atmosphere. I don’t mean to split it this way, but if DIR members have a certain aura and the songs have a certain atmosphere, the things I bring in or the things I express will also change certain way. So simply if the members are different my expression will also be different. The atmosphere that sukekiyo members have, the mood of the songs, the worldview, there are quite many things that naturally make me like this. With DIR it's a bit different. But now that's almost gone. Even one single sound like a guitar sound is totally different in DIR and sukekiyo, don’t you think? So it feels like it get split naturally.

－ The main style of DIR EN GREY's songwriting is to proceed by getting an idea from one band member and then do a catch ball exchanging arrangements between all of you. At the beginning of sukekiyo I heard that you had a method that as sukekiyo members Kyo would hit the idea he got inside of his head to Takumi who would then give it a shape. Has your desire to express the worldview that exists only inside of you gotten stronger?

京 No, it's not like that. I think about the worldview in both cases (bands). For example in DIR, I of course think about the lyrics, I thought about the music video for the recently released single The World of Mercy, about the worldview for the concerts, I think about the images that connect it all. It's not different for sukekiyo. Creating this kind of worldview, using this kind of images, I talk to the members about this some, when the music is ready and I sing, when we think about the images for the videos or the light used at performances, the worldview materializes more and more. At that time I explain more to the band members. That's why it's not like sukekiyo is only me. It's not a solo [project]. sukekiyo is a band [same as DIR].

－ There's no way to control everything with your own brain, do you give shape to your ideas and thoughts blending them with the ideas and thoughts from other members?

京 Of course. Talking about music I don’t like it when people refer to it as my solo. I love being in a band. If I did music solo it would be just singing with a guitar or with piano, I get that. But I love the sound of a band.

－ What's the reason for you to be so fixated about being in a band?

京 I simply like [the idea of the] a band. I've entered the world of music as a band member. There are many musicians, including my senpais, who were in bands and then started solo career just singing etc. But it just doesn't resonate with me. But I don't mind the artists who started as solo singers. I'm simply a type who constantly wants to sing in a band. I think people can try both. But I love being a part of a band.

－ We're talking about the permanent band members only, right?

京 Yeah, using support members doesn’t feel right to me.

－ One of the strong points of bands is constant changing because of the involved band members' motivation or the new ideas they bring in. The early stage sukekiyo came out with 'stateless' as a keyword regarding the music.

京 Yeah, we did.

－ Did all band members share this keyword?

京 In the past? Yeah. First, we had the idea to create something that doesn't exist yet, something new. This continues today as well, but we don't explicitly talk about it like 'something that doesn't exist yet!'. I add singing to the forming song, and layering the sound from all members we have a song. We are creating songs now too, and even now such things happen. I won't say more.

－ Do other members also feel different, do they throw themselves into sukekiyo bringing different ways of thinking?

京 I think so. I just happen to throw some ideas like the direction, what I want to do next, the kind of timbre. Everyone thinks about things properly.

－ The first sukekiyo's performance was in December 2013. I think there was considerable excitement about what will happen from the audience. When you stood then on the stage did any feeling inside started to spark or did something feel different than before?

京 I think the switch there is not different to DIR, I don't think about it. I usually hang out backstage until the last minute before the start of the show. I don't turn a switch in my mind or anything like that. It's like, when I notice [it already happened].

－ The live performance on stage is overflowing with sadness and melancholy instead of grotesque.

京 Ah, I'm not really aware of that. It's the power held by songs and lyrics. When I sing the melody and lyrics born from that music come out like that naturally. I really don’t have a switch inside my head nor I do something different [in both bands].

－ Is it because you go deep into the song? Are you not curious what did the men and women in the audience feel, what got conveyed to the audience when you perform like this?

京 Not at all, not even a bit. If I started to think about it, wouldn’t it become commercialized? Like it wouldn’t even have to be me? There are spectators, fans, in front of us (when we are on the stage), but I don't think they are people who want us to do what they want. Especially DIR and sukekiyo fans. I feel there are many people who like to see us doing what we like. Even if it wasn't like that I wouldn't care. I'm like that since way before (laughing). If there people were suddenly being 'do what makes fans happy', I'd be shocked as in '[after so many years] you want that NOW?' That's why I don't think about it.

－ And then you have another chance to express yourself. How does it feel when it (your idea) becomes the reality? For example, when someone is able to spit out the things that were accumulating inside, it feels almost like a purification.

京 True. But I have so many things I want to do. It's not like it's all used up with things I do with sukekiyo, not really.

－ I thought so. If I can say why, you are vigorously releasing new music and gradually you're becoming more and more borderless, the extend of your creative urge must constantly surprise even sukekiyo members. That's why I feel that as you get more chances to express yourself you get more and more stimulated.

京 If I get even more stimulated it would be bad (laughing). I, myself, am troubled. There's just not enough time. If I could do things without any restrictions I could go on endlessly. But sukekiyo members are really amazing too. Even without having a release date we have about 6 completed songs at the moment. The members are sending new songs in even as we are already working on some songs that don't yet have a proper release plan. Even during DIR tour some time ago when we were playing in Nagoya, our bassist, YUCHI, sent in a song. I was waiting for the arrangement of a different song from other members and I thought [the email] was that, but it was a totally new song. And that's how I was working on the temporary lyrics playing the song on the laptop in my hotel room in Nagoya, I recorded it using my phone and sent it to the rest of (sukekiyo) members. And that way we got another song. We work with this kind of attitude. All members work fast and are insatiable, I think they have many things they'd like to do. I get so much response from them, I respond as well. That way we keep making more and more songs.

－ That's the best possible situation for the band. When sukekiyo just started everyone seen you as a conceptual project.

京 That's true. I've been told that again and again , even when I said that's not the case.

－ Talking to you, it feels like sukekiyo can just do whatever you want really.

京 Yeah, there are no limits (laughing).

－ One of the reasons for being seen as a conceptual project is your performance. You have your fans attend in black clothing if possible. Currently you also play shows at the standing venues, but in the beginning at the seated venues were full of the atmosphere where standing up or making any noise was not permitted. Because of the solemn atmosphere it felt just like a funeral.

京 I think there were many artists until now that didn't allow talking during the concerts. But I haven't heard of anyone who would succeed in that for many years. It was something that I really wanted to do and I did. Feeling like a funeral feels like sukekiyo, personally I really love it. There's no need for any other sound than band members. We also try not to have anyone else on stage besides band members. Even if there's some trouble the members have to deal with it, there's almost no staff. I want to keep this core part important even from now on, but once in a while we step away from that and have shows when everything goes. Earlier, we did a show where it was okay to do anything, but fans were not moving. There were very few people who were singing, but it was mostly quiet. It was like 'ah, I see' (laughing). There are not many bands with so many rules like this, although I think it's fine to do it.

－As you have liked the unconventional drama and performers even before starting sukekiyo, and GENET from AUTO-MOD also came to see sukekiyo's performance, have you been mingling with artists in this field? Especially that you actually had some performances together.

京 Nah, I didn't know anyone from the theatre, I also haven't seen any of their plays. I like Banyuu-inryoku, but I don't watch [plays・other artists performances] as a reference or study. On the contrary I don't want to learn. In the concert there are feelings and atmosphere of that very moment, right? I want to actually express with my body what I feel at that moment; if I had studied and accumulated various knowledge it would remain in my head, ending as a make-believe/pretending. Actually, I don't even like the idea of doing something the same way after seeing something done naturally. I don't want to be tied by that. That's why I don't want to learn/prepare anything. I have things I like, but I don't look that deeply into it. Moving my body and singing freely, as naturally as possible, I always have this [mindset] inside of me. This is the same for DIR and for sukekiyo.

－ I see.

...to be continued😊 (part 2/3) (part 3/3)

#sukekiyo #kyo #京 #rock and read #interview #translation

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boldtendencies · 4 years

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A reflection on accessibility after Peter Adjaye’s Mentor talk at Barbican Centre by Jessie Gao

Peter Adjaye is a contemporary conceptual sound artist, specialising in cross-disciplinary collaborations. He is a musicologist, composer, DJ-producer, musician with an academic background in mathematics and engineering. He publishes his music through a limited amount of vinyls. This physical and conventional form of music reproduction seems old-school to those of other modern formats such as digital formats uploaded on Spotify and Apple Music.

Tessa, one of our trainees, was particularly concerned about the accessibility of art as she grew up in an area without much exposure to art. When Peter was asked about if he would publish his music in a digital format, he answered with a definite “No”. It seemed that this response triggered some dissatisfaction from other trainees who cared about social causes and especially art education.

My question is, should artists be respected for their preferred medium or be critiqued on the art medium? The pandemic and recent social issues has raised awareness of 1) accessibility, 2) opportunity of artists who are POC (people of colour), and 3) sustainability. In this blog post I will address the first issue that was raised multiple times from this year’s trainees.

As the situation of the pandemic still changes day by day, is our concern safety or accessibility? If we simply define accessibility as something like - so more people can see the art - how would we be able to achieve it. Would it be the form of decreasing ticket prices, introducing free admissions, or producing a virtual reality gallery?

Some mediums are meant to be for real life observation. These mediums may include anything that is three-dimensional, which requires the audience to interact with it. Most common ones are sculptures and architectures. Of course you will be able to take a photograph or scan it into a virtual reality model, but it will always lack a certain depth. Humans are sensory creatures: we see, feel, and hear; the immersiveness of a physical experience is completely different from a two-dimensional presentation. Sometimes art cannot be made accessible and is not meant to be accessible. If we were critiquing Peter’s work for not being accessible enough, have we considered how his music worked?

During our visit at the Barbican Centre, we were able to listen to his work in the Curve Gallery that was exhibiting Toyin Ojih Odutola’s work. Peter had to compose the music according to the structure of the Curve Gallery as it did impact audio in real life. However, would it be appropriate to ask an artist to change its medium so it is more accessible when accessibility was not its priorities? Or must every artist be pressurised in doing so because he brings a greater social impact?

I’d like to bring in my background in Economics, which I think might bring in another point of view. The purpose of art nowadays is mostly related to some form of impact, but the real question is does accessibility bring more impact? I would like to bring in the concept of the Law Of Diminishing Marginal Utility. It states that all else equal as consumption (in this case, accessibility of art) increases the marginal utility derived from each additional unit declines. Marginal utility is derived as the change in utility as an additional unit is consumed. Utility is an economic term used to represent satisfaction or happiness. Marginal utility is the incremental increase in utility that results from consumption of one additional unit. For example, based on this law it means that if all forms of art were more accessible, the audience will be less satisfied per observation/exhibition as they become too available. I do believe this law works in real life to a certain degree if we consider the audience’s price elasticity (how sensitive they are to admission prices). This law is particularly relevant because one way of measuring impact is through audience satisfaction.

There were several free concerts and virtual events done during lockdown. However, how many people willingly attended? Will the same group of audience still attend these online events if there wasn’t a lockdown or a pandemic? Will the audience feel more satisfied to attend during a pandemic because they were made safe (another form of accessibility)? There are so many other elements involved when we want to measure if accessibility actually increases the amount of audience and impact.

The artists have chosen a medium that they think is suitable for the piece. Some art is created for the public and some are not. Must we force all artists to consider accessibility before creating art, or would that be restricting creativity? Will making art accessible actually bring more impact to the society? Will people appreciate art more if it were made free and public, or will it be the opposite? If the former were true why do we still purchase limited edition items, celebrity concert tickets, and luxury brands when there are similar substitute products at a lower cost? Does it mean if something is less accessible/available, it will bring more satisfaction when it is purchased? So does this mean if an exhibition was in a major city with an acceptable admission fee, will the experience be more memorable than if it was next door to your flat with a free entry? Do you have a stronger impression of something when it was less accessible? Chances are you have never tried your local restaurant just around the corner, because it is simply too accessible.

For me I believe not all art needs to be accessible, but it is always better if it can.

#boldtendencies #arttrainee #2020 #peteradjaye #accessibilty #poc #toyin ojih odutola #barbican #contemporaryart

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