#how as a musician do you live with yourself after releasing this? | Explore Tumblr posts and blogs

jokeroutsubs · 16 days ago

Text

[📝ENG translation] 'My Parents Gave Me a Strong Sense of Identity'

An interview with Bojan Cvjetićanin.

Original article written by Teja Roglič for Ona plus, published 05.11.2024. English translation by @kurooscoffee, review by @weolucbasu, proofread by IG Gboleyn123.

Full article and Spotify link under the cut 👇

🎧 Article available in audio form on Spotify.

Last year’s craze at Stožice, summer festival performances, the Eurovision Song Contest, international success. And then everyone asks, what could be bigger, what could be better? But as the band Joker Out releases their new album, they consciously follow the motto "I want less". Singer Bojan Cvjetićanin explains why: "This is our home, this is our base. If we don’t feel good at home, we can’t feel good anywhere. We need to rediscover love in our base, that’s what we told ourselves."

With the song Bluza, you’re returning to love. Why?

We went through a lot. The songs we released after Eurovision dealt with the most acute situational changes in our lives—touring, exhaustion, questioning ourselves. Now, it’s time to have a bit of fun again. And there's probably nothing more beautiful than being in love. (smiles)

I’ve been looking into people’s stories, into the lives of those around me, seeking beauty.

What did you discover?

That I enjoy writing about love the most. When you write from a place of uncertainty, it’s nice to get those feelings out; when you write about love, you search for timeless beats within yourself, not something that’s only fleeting. I write about the ideals of love I held as a child, and in the future, I’ll see how these have either evolved or fallen apart.

It's best to write about love...

When you have a broken heart.

Your Eurovision song was more socially critical, though it might seem, at first glance, to be about joy. In it, you say: "We won’t take part in your games or your divisions." Did the song’s message reach people?

Undoubtedly. A lot has changed in a year and a half, not only personally but also in terms of our views of social issues. For the first time, we've connected with young people from abroad. It was fascinating to see how connected the fans from different countries became, encouraging each other, learning new languages—even a lot of Slovene. The desire for peace and unity is very strong at our concerts, so our messages have touched them. But of course, you can never reach everyone. (smiles)

You mention changed perspectives with regards to society. Have any ideals been shattered?

Many ideals have crumbled. In school, learning about war, it always seemed odd to me that the world could just go on at the same time, despite the ongoing disruption in the system. Now, I see that we have access to all the information, that we see and hear what’s happening, that we witness an influx of people coming from regions where this is happening, yet everything literally carries on as usual.

War has become more of a trend on TikTok or Instagram than something people feel hurt about. This makes me very sad.

A lot of ideals that have shattered relate to the life of a musician. We’ve achieved things we could only have dreamed of—not just as kids; even two years ago, what’s happening now would have seemed impossible to me. But the ideal that’s crumbled is this one: I don’t always know how to appreciate what I have.

On tour, I often slipped into negative thoughts, didn’t appreciate everything happening to us. This links to the idea that this kind of life is easy, that as a successful musician, you only have fun. This, of course, isn’t true; it’s incredibly exhausting, both mentally and physically. I could go on until tomorrow, listing everything that’s fallen apart, but fortunately, a lot of new things have also come to be.

You’re the idols of generations; do you feel pressure because of that? After all, you’re still young guys too…

No. We already lost the childlike joy of music because we had to start working so much so early and get to know so many new systems. If we also take on the responsibility of raising generations of kids, we could truly fall into a black hole.

We need to be role models, but we can’t shape our work around that. On the upcoming album, there’s a song, 'Muzika za decu' ('Music for children'), which touches on this very point. We want to convey that we’re not addressing generations who think all younger people are lazy bums who only hinder the world’s progress. We’re addressing everyone who is young enough at heart to believe in a better world, a brighter tomorrow.

Photo: Vita Orehek

More and more musicians are stopping concerts at large venues when fans are in distress or overcrowding happens. You too?

Absolutely. This summer, we constantly stopped concerts if people were packed tightly indoors or out in the sun. We handed out a lot of water from the stage, and I even paused a concert if some listener (m.) was treating another listener (f.) disrespectfully. A concert is a safe space; there’s no place there for infringing on the rights of others.

That’s an interesting topic I wanted to touch on anyway. So what is the rock ‘n’ roll world of the new generation like?

It’s a lot better. I’m glad we’re not a group of drugged-out dudes living only for today. Carpe Diem really means seize the day, but for us, that doesn’t mean picking every fruit that exists in the world. Waking up healthy and energised, wanting to go to a concert, being open to meeting new people, our fans, being creative...

That’s what it means to seize the day. Sure, sometimes we go on a trip, we do have fun too. But I’m glad that sex, drugs, and rock ‘n’ roll aren’t our guiding principles in the band. When we watched the documentary about Mötley Crüe, we saw how they started with heroin and opiates and ended with smoothies and fruit. Well, we’re already at the fruit and smoothies stage. (laughs)

“We’re constantly building a relationship that gets deeper every day, even though it seems like it can’t get any deeper,” you told me before the Stožice concert, as I was stunned when you said you were going on holiday with the guys right after the concert. How much do you invest in relationships within the band? We know it’s sometimes challenging to nurture a relationship between two people, let alone five.

This is like a partnership with five people. Except for intimacy, all the other elements of partnership are there. We’re companions. We often live together, work together; the dynamics are demanding. I talk a lot about this with fellow musicians. Recently, I was talking to Mr. Vlado Kreslin, and we concluded that being in a band requires a touch of madness.

Even if it ends someday—nothing is guaranteed—I know I have four lifelong friends. We exist as friends even beyond the band.

Success demands hard work; you’ve told me before how sure you were of your path in the band, of your decisions, and how hard you worked to achieve what you have. And we’re back to the topic that some might say your generation isn’t hardworking, that you’re quick to say what you won’t do at the work place...

The young people I know could hardly be described as not hardworking. I’d rather say we’re diligent, and the drive to work comes from the strong pressure that you need to achieve a lot very quickly, or else you won’t make it in this world. As for them being quicker to say no... Maybe they know they can’t live that way if something doesn’t work. And to live is very costly.

Young people feel they don’t have to stick rigidly to one profession, that they can change courses, jobs, and find something that suits them. We’re far from the days when the son was a blacksmith because the father was a blacksmith, and the daughter stayed home as a housewife. But we also have to know that there’s more and more uncertainty, precarious work.

If Gen Z is the way it is, I wouldn’t attribute that to the generation itself but rather to the Boomer generation. Everything that makes life harder for us isn’t the product of our ideas and actions. But it’s also true that sometimes, you need to stop, think, and make a decision. I’d like to do something today, something different tomorrow, but that’s not realistic. When you’re bombarded by choices from all ends, you have to make decisions. If there are three shirts in a store, I’ll pick one; if there are 250, I might end up buying sneakers instead. (laughs)

You performed at a concert aimed at contributing to the best possible care, treatment, and support for women with gynaecological cancer. You probably get invited to participate in quite a few charitable events; how do you choose them? This concert likely wasn’t a hard choice, as both of your parents are doctors...

My father is a gynaecologist, my mother is a pediatrician, so naturally, when I got the invitation, I immediately thought my dad would be happy if I could perform there. Otherwise, I choose events based on two criteria: whether it’s something important and whether I’m home at that time. I've often had to turn down an event I would have really liked to participate in simply because I wasn’t here.

Life has taken you all over in recent years. What have your parents given you that has stayed with you and has been proven most useful today?

They gave me a sense of normality. I'm an ordinary person who takes everything in moderation. I didn’t become a hedonist, nor did I give in to the patterns that the environment might impose. They gave me a strong sense of who I am and what I am, unconditional self-confidence, and self-respect. And the certainty that I’m never alone in anything.

Recently, the dramaturg Nina Kuclar Stiković and I talked about how Generation Z might be the first to actively work through its traumas, though she noted that taking on such responsibility across generations is a huge task. In the end, you might even feel worse. If you only become aware of your baggage but can’t overcome it, it can feel even worse than if you had never been made aware of it at all, she said. What do you observe around you, in your own generation?

Mental health has never been as openly discussed as it is today. I know many people who go to therapy. It’s actually strange that mental health was never treated before, that this stigma existed. If you have a cold, you stay home, you also heal a broken arm. Today's generations have managed to break free from these shackles. The individual is becoming increasingly more important.

People are working through the things in their minds. And this bothers many people from generations who suppressed everything and unleashed their traumas onto others. I often think how unfortunate it is that we don’t practice everyday therapy in our surroundings. Everyone surely has someone whom they trust. We talk about all sorts of things, but we never ask each other how we are and share that honestly. Now, I do this with a few friends, and it’s really nice. I go to my friends for therapy. (smiles)

Nina also mentioned that patriarchy has wronged not only women but men too. It’s unfair that men couldn’t show emotions and always had to be strong. It always helps if you can share your feelings with someone. What do you think?

The Neanderthal perception of masculinity is passé. We can all first tell ourselves, and then tell others, how we feel and what’s going on in our heads.

This summer, you performed at festivals. Now you have a new album, and you’ll be performing at various venues again, with tickets quickly selling out. It's a carousel that never stops. You mentioned earlier that you caught yourself maybe not appreciating it anymore. What do you do now to keep that from happening?

For the tour that’s coming with the release of the new album, we consciously followed the motto, "I want less." Last year, we played in Stožice, before that in Križanke. This year, we toured Europe, and everyone was asking us what big thing we’re preparing next. But we were only talking about how nice it would be to play at Ljubljana's Cvetličarna again.

Pass by Maribor too, go a bit to the clubs in the Balkans, and that’s it. This is our home; this is our base. If we don’t feel good at home, we can’t feel good anywhere. We told ourselves that we need to find love in our base again. I’m glad we recognise this, that we’re not just banging our heads against a brick wall. The purpose of this tour is simply to enjoy it.

A few years ago, you told my colleague Robert Rebolj, my fellow journalist, and your fellow musician, that you’d like to have kids while still young. Yet you also say that you're in a period where several of your ideals have collapsed as you look at the world around you. Does the desire still remain?

When I said that, I was thinking I’d have my first child between the ages of 28 and 30. Then Robert told me that having a child young doesn’t necessarily mean that. (laughs) I see it now, too, as some of my friends already have children, and some even their second. My calendar no longer just has friends’ birthdays, but, for instance, the first birthday of a friend’s child. (laughs) Yes, I think a lot about how this world is in many ways not what I imagined it would be, but I guess it’s always been that way throughout history—things have never been ideal. I think everyone, in every era, has felt the world is going to- hmmm, well, that’s how it seems to me too. (laughs)

#joker out #jokeroutsubs #bojan cvjetićanin #bojan cvjeticanin #Spotify #jo: bojan solo #source: onaplus #year: 2024 #og language: slovenian #type: article #jos: podcast

144 notes · View notes

userparamore · 2 months ago

Text

PARAMORE'S DORK INTERVIEW

i thought i'd gather some of the highlights/important quotes from their newest interview with dork magazine; all from new music, more solo music from hayley, and fine print. i've put it under the cut as it got a little long:

– hayley talking about new music:

Well, the band have already started toying with new music. At home, before the tour began, Paramore created some early demos that "really surprised" Hayley, with the tracks taking inspiration from the Bjork-fronted alt-rock band The Sugarcubes. But they've also spent a few days off from tour in the studio. In Hamburg, they visited Clouds Hill Studio and started messing around with another idea that "felt like it was on the other side of the tracks to what we'd been working on at home," offers Hayley. "But that excites me."

"Lyrics have always been a huge driving force for me as well. I feel a deep sense of discomfor when we go home to the American South in this political climate and a lot of poetry that I've been writing lately feels like adulted versions of the themes I was writing about in 'Brand New Eyes'." The band's third album was an exploration of faith, betrayal, community and pain. "Also you mid-30s are wild. I was told they were supposed to be breezy but it's like another puberty."

After the overwhelming positive reaction to the glistening pop of 'After Laughter' and the scuzzy rage of 'This Is Why', there's a real sense of liberation to whatever comes next. [...] "It does feel like there's more space now to do whatever it is we're inspired to do and not look back," she adds. "It doesn't have to be on thing either."

– hayley talking about more solo music:

"Fine Print is about creating a better ecosystem for our creativity," explains Hayley. And that includes potential solo stuff as well. "Paramore has always been the thing that I want to do the most, and I get really passionate and protective of it," says Hayley, but something shifted after seeing that nothing major changed with the band after releasing solo album 'Petals for Armor' and follow-up record 'Flowers for Vases/Descansos'. "I don't feel done with it at all," she adds. "And that feels so good to say."

"Originally she wanted her solo music to be released under the Petals for Armor name because it felt like a nice cloak. "Even when I was doing press for 'Petals', I was really worried people would think I was done with Paramore because those rumours fly so fast, but now I don't feel that fear at all. I know the three of us will be creative until we die, and that's going to manifest as a million different projects," she explains. Some projects will be Paramore, sure, but others might be Zac shooting music videos on film or Taylor acting as a producer for other people's records, like he did with 'Petals for Armor'. "I think Fine Print is going to be a really great catch-all for those things."

– on "Fine Print" and independence:

Not having a label is the closest Paramore have ever got to the "total freedom" they felt when they first started the band. "I think the creativity is about to get cranked up," offers Hayley.

With Fine Print, Paramore want to find a balance between creating art and living life, especially because "the music industry does not reward taking care of yourself," says Hayley, who is also asking questions about fairer payments for musicians and how to support new artists as well.

Paramore are still laying the foundations for Fine Print but the whole thing is being built on the same ethos of their 2018 Art + Friends festival. "If it's not people I would be happy to have a cookout with, I don't want them involved," says Hayley. "Music is community. It's such a great connector, and that's the energy I want around anything that we do."

– on their inspirations right now:

Right now Hayley is inspired by the fearless, slightly chaotic world of pop that's being ushered in by the likes of Billie Eilish, Olivia Rodrigo and Chappell Roan. They're not afraid of messy feelings and they don't care if they don't have all the answers either, which is something Paramore have always done really well. "You have all these women ruling the world, and I don't think pop has ever been cooler," says Hayley. "It's so inspiring to see young artists being really bold, expressing themselves freely and making good shit that everyone wants to sing along to, while also speaking about things that perhaps don't always feel good to speak about," she adds, with that new generation of pop stars kickstarting discussions on politics, abortion rights, body image and predatory fan behavior.

"But there's also so much exciting stuff happening with guitar music as well," Hayley adds, name-checking Amyl And The Sniffers and "sick" new band Font. "I'll always love indie sleaze and bands like The Rapture and Yeah Yeah Yeahs, but I'm ready for whatever comes next in the dystopian future that we're all entering. We need punk music, and we need those underground movements," she explains. "Not because I want to hide from pop music, but because there's life there that I want to live."

– hayley said she thinks zac is the most underrated drummer:

"Can I also just say in an interview that I think Zac is the most underrated drummer in whatever fucking genre we're in," says Hayley, still struggling to find a label for the band. "When he was 11, and I was 13, I saw him play for the first time, and I just knew." She can't explain how she knew, because what does anyone really know at that age, but at the end of every Eras show when the rest of the band huddles around him for the furious, cathartic conclusion to 'This Is Why', it's every dream Hayley ever had for the band come true. "I'm so grateful Zac came back for 'After Laughter' because he's the backbone of Paramore. He makes us better."

– hayley on performing:

"I remember when we were touring 'Brand New eyes' and our tour manager kept telling people the only time we didn’t fight was when we were onstage. I didn't want to accept it, but he was right," says Hayley. "We were beat down, uncomfortable, and that was such a rough time, but there's a reason Taylor and I never quit, and it was the shows. Paramore gigs did get a lot of the poison out."

"My smile is sorta too big for my face but make no mistake, I am but a bird-sized woman still filled to the brim with rage. If i didn't get to make music or throw my body around the stage every night, I wouldn't survive."

"I've realised I can't be alone," says Hayley." I can't be by myself in this, so I guess we'll keep touring until we physically can't. Can you imagine seventy-year-old Taylor York doing light choreography on stage?" she laughs. "Honestly, I am so excited for the next incarnation. It feels like there's something in the water."

[On playing The Only Exception] "It's not 'Misery Business' but I didn't want to endorse that message either," she explains. This time it was her vocal coach who had a word. "He said, 'You're in a band with your partner. Just look at him and pretend nothing else ever existed'. You know what is so dumb about me?" asks Hayley. "I felt so stupid doing that at first. I felt stupid having this pure expression of adoration and tapping into the hopefulness I had as a 19-year-old. This tour completely changed my relationship with that song though. Now when I sing it, I feel happy."

#hopefully someone finds this helpful #i copied all this and wrote it out by hand like a loser lol #so if there's any spelling mistakes i didn't catch please ignore 🤗#paramore

39 notes · View notes

doamarierose-honoka · 4 months ago

Text

Ten years ago, musician Usman Riaz grabbed a pencil and started to sketch.

He might have hoped, but didn't know at the time, that it would start him on a path to making history.

That initial drawing became The Glassworker - Pakistan's first ever hand-drawn animated feature film.

It follows the story of young Vincent and his father Tomas, who run a glass workshop, and a war that threatens to upend their lives.

Vincent's relationship with violinist Alliz, the daughter of a military colonel, begins to test the bond between father and son.

Usman tells BBC Asian Network the characters ultimately come to learn "that life is beautiful but fragile, like glass”.

He describes The Glassworker as an "anti-war film" set in an ambiguous and fantastical world that takes inspiration from his home country.

“I wanted to tackle issues and themes that would have been difficult to tackle if it was based in Pakistan," he says.

The country doesn't have the thriving film industry of neighbouring India and there is no government support or incentive for budding creatives like Usman.

So The Glassworker was a passion project, he says.

“These 10 years for me have just been purely driven with passion and obsession.

“Since I was a child, I have loved hand-drawn animation and there's something so magical about it.

"The beauty of the lines drawn and painted by the human hand always resonated with me.”

Usman says he travelled the world looking for mentors and his search took him to Japanese animation house Studio Ghibli.

The influence of the Oscar-winning artists behind classics such as Spirited Away and Princess Mononoke can be seen in The Glassworker's own style.

Usman says the industry veterans at Ghibli were also the ones who encouraged him to start the production himself.

After raising $116,000 through a 2016 crowdfunding campaign he founded his own studio, Mano Animations.

From there it's been a painstaking process, especially since full production started in 2019.

“What you are watching is essentially a moving painting,” says Usman.

“Every single frame you see, whether it's a background or the character moving, it's all drawn by hand.”

Usman says that, so far, he hasn't made any money from the project and has been unable to pay his wife Maryam and cousin Khizer, who he recruited to help him.

But there's hope that the labour of love could be the start of something bigger.

Usman Riaz says he's always been a fan of animation

Sharmeen Obaid Chinoy is another experienced industry figure Usman turned to for advice about getting The Glassworker off the ground.

She directed 3 Bahadur, a computer-generated tale that was Pakistan's first-ever animated feature film.

On its 2015 release it broke box office records, even surpassing US imports and dethroning previous record-holder Rio 2.

Her studio was also the country's first female-led animation studio, and she understands the challenges of getting started better than most.

“Everything in Pakistan is driven by passion” she says. “I had to run pillar to post.

“We're a country that has limited access to electricity and our industry is heavily taxed.

"We're unable to import computers and hardware needed for animation.”

But Sharmeen – who is going to direct upcoming Star Wars film New Jedi Order – says The Glassworker could be a “monumental step” for Pakistan’s animation scene.

If it finds commercial success, she believes it will “ignite” something in the country, but there are barriers to home-grown animation becoming a red-hot trend.

The Glassworker is partly about the romance between characters Vincent and Alliz

Arafat Mazhar from Lahore-based Puffball animation agrees that “the technical skills are already there” in Pakistan despite there being “no formal training or schools available”.

But “how do you not censor yourself?” he asks.

It's a question facing any Pakistani filmmaker who has to deal with its strict board of film censors.

“Every time there's a good film that comes out that's sincere, the state ends up censoring it,” says Arafat.

He doesn't believe the rules are likely to relax soon.

Akira Toriyama: Fans reflect on Dragon Ball creator's legacy

Stranger Things season five teaser excites fans

Is Hollywood finally doing anime right?

Sharmeen agrees the government will only encourage the domestic film industry to grow if they work to "provide opportunity to create a level playing field for us to compete with the rest of the world".

“There is a lot of scope in Pakistan for animation," she says. "We've just never been given the opportunity to create it."

She shares Arafat's pessimism about the pace of change.

"Unfortunately, it will just be a few filmmakers who have that passion, who will continue to create films," she says.

But Sharmeen says she is eager to see how the world embraces The Glassworker.

"I know that there is so much in there that will touch people's hearts," she says.

Usman says The Glassworker has an anti-war message

Usman will finally get to find out how audiences react to the work he's spent 10 years pouring his energy into as The Glassworker goes on general release.

He says he hopes to “put Pakistan on the map” and show it can stand up to the giants across the border in Bollywood.

But he admits the process has been “gruelling”.

“It is extremely difficult, but we've done something nobody has ever done in the country before," he says.

"I think we've created something special that can stand toe-to-toe with the rest of the animation produced in the world.”

Listen to Ankur Desai's show on BBC Asian Network live from 15:00-18:00 Monday to Thursday - or listen back here.

#the glassworker #pakistan #anime #anime news #ghibli films #ghibli movie #asian #film #animation

33 notes · View notes

jeffbiblesupremacy · 2 years ago

Text

Jeff's interview for Mint Magazine Thailand

Let’s Make Everyday SATURday (x)

Translation below

After KinnPorsche The Series World Tour 2023 and Jeff Satur Live on Saturn: First Solo Concert in Bangkok, the first solo concert of Jeff Worakamon Satur ended beautifully, and Mint and him met again to catch up about his works. Jeff has grown tremendously as an artist who has his music but also his acting and he has shown his skills to the eyes of the Saturdays throughout the year.

It is believed that the definition of the world "artist" is different for each person. For Jeff Worakamon Satur, also known as Jeff Satur, being an artist is being a storyteller, to convey the stories to the audience with sincerity and spirituality, and without any frame or line, because Jeff's artistic prowess is boundless, just like the story he's going to tell you in this interview.

Mint: What role do you identify with the most? Being a singer or being an actor?

Jeff: In fact, my root is being an artist. I feel like the responsibility of an artist is telling stories. For me, I started with telling stories through songs. Then it expanded to tell stories through acting. Therefore, I'm not looking at myself as a singer or an actor. I'm an artist that shows my true self to the audience.

Mint: What made you come back to music?

Jeff: I don't reckon it as a coming back to music. I’ve never left. I have continued working on my music. Just that, at that time, there was an interesting opportunity for acting. The role was interesting, it fitted me, and I could do it great. Kinnporsche is the only story. I can confirm that music is still my priority tho.

Mint: What criteria do you use to choose a show/role?

Jeff: Actually, there is nothing specific, but it has to be a story that interest me. Personally, I've been listening and telling stories since I was a kid. I like listening stories, watching movies, watching cartoons, watching series, and devouring every story. I grew up with these stories, so I live with a lot of them. I look for new and interesting stories with different plots that make me feel like I want to be part of those storie

Mint: What inspired you to choose Kinnporsche when you just had re-debuted with Warner Music?

Jeff: I get this question a lot during interviews. The first question always was "do you see yourself as a musician or as an actor?" and I would answer "I'm a singer, I don't like acting. I can't do it". In the past, I had never accepted an acting job and I always wanted someone else to be in my MVs, because I didn't like acting and I didn't like to see my face on the screen. I was like I just want to sign autographs, let someone else do the acting instead.

My re-debut with Warner Music was 2 years ago, and I chose the "No boundaries" concept, because I wanted my work had no limits or line. I feel like I've grown up in a way that I shouldn't have a limit to work in anything. If I want to tell something or play something, I just do it. The division is a fictional thing. Being a singer. Being a actor. Even about women and men, about love. All of them are human-made frameworks. I decided to cut them off and focus on being an artist in my own way.

Mint: Do you think you'll change more in the future?

Jeff: I can't answer for the future. It may changed. But now... I don't know. Maybe I will be more open or maybe narrow down until I can find something that truly fits me. In this moment, I feel like the more I open, the more I can see clearer what fits me and what not. Where and how much I can add myself into the works. At the end of the day, all the 6 songs I released are totally different but they all are my songs and they are me today.

Mint: Are you happy with your old works?

Jeff: I'm very happy. I'm happy with everything I've done, even with my old works.

Mint: Since the day you joined Be On Cloud, do you feel like you have grown up?

Jeff: I've grown up a lot. Working with Be On Cloud has been one of the most important moments in my life. Their work culture have made me grown a lot. P'Pong has taught me how to grow up, how to change in terms of working methods and how to think as well, not only as an artist but also as a person who wants to follow a direction as a CEO.

Mint: What's do you think is the difference between Be On Cloud and Warner’s work culture?

Jeff: P'Pond is a very creative person, he's an artist whose projects are very sexy. I got a lot of great things from him, both as an artist and as an executive, and it has a balanced level of familiarity and professionalism.

Warner is being very professional since the beginning, and as time goes on, it's becoming a family with the Global Company system. Although it's a professional style, you can feel the human touch and the love is put into work.

Mint: Personally, what kind of working culture are you most comfortable with?

Jeff: I like both. They have different advantages, so I decided I want to try it for myself. And Studio on Saturn was born, wich is a Jeff Satur Management Company (laughs). It's a co-management with Warner Music, which means I'm in charge of the creative direction and they will help me to make them come true.

Mint: Has working with these two companies changed you?

Jeff: I think the change has to do more with myself and being working in different genres. The more I open up, the more I feel myself, and the more I have the desire to be myself. Especially when I look back to my acting roles, I feel like there are still parts that I want to expand and play on the stage. I started to see clearly what I like in the show. For example my last MV has a lot of me personally than the first MV I released. Working with Be On Cloud and Warner Music have encouraged me and let me dare to be myself.

Mint: So before that, you didn't dare to be yourself?

Jeff: I didn't dare. In the past, I was quite afraid of how others would look at me. I was afraid that people would categorize me in a way that I didn't want to. So I didn't dare to do anything. For example, it took me 3 years to upload my first video on YouTube, because it was easier just to sit in front of the mirror and play the guitar comfortably, without lightning or a camera. It turns out you have to be the one who dares to take yourself out, just by yourself.

Mint: Why didn't you dare to be yourself back then?

Jeff: I think it was because I didn't know how to be myself. I used to not believe what I thought was right. Some cultures make you think that being yourself is not always right. For example, when I was a kid, if I painted my nails or wore eyeliner, I would be teased by my friends. The society didn't empower me to be myself. At home, my mum supported me but when I was outside, the society looked at me in a different way.

Nowadays, there is a lot of talk about gender diversity and beauty standards. I think it has opened many doors for everyone to dare to be themselves more without having to care about what people think/say.

Mint: So we can say that Jeff is being himself now.

Jeff: Yes, in the past, when I was on stage, I was myself but at the same time, I was worried if I was singing right or if I was performing right. If I had to walk or stay still. If I had to come back to the middle of the stage... It turned out that the focus was wrong. Even if I still focus on the work, I can say that I'm 100% myself.

For example my last concert ended without me even realizing it (laughs). The audience probably felt the same way. It went so quickly that I didn't even have time to think anything. I just performed.

Mint: What do you get from Kinnporsche?

Jeff: I always get something back to be someone other than myself. Whether from 'Kim' in KinnPorsche or 'Dan' that I played in the drama "Closer", they always teach me something. From Kim's character I got the courage from him without knowing it. I developed some skills and now they're part of me implicitly. I dare to be myself because Kim's courage came to me.

Mint: You're famous now. Is it what you were waiting for?

Jeff: I don't think I'm famous but my work is more widely known. But it's not something I was yearning for (laughs) I just want people to listen to my music. I want these songs to reach them. What I'm most proud of is that my work has inspired others. I used to write a blog and the message of my blog has helped many people who wanted to commit suicide and I got messages back to tell me they feel better because of my work. No matter what kind of work, but I feel like this is the essence of being an artist. I want my work to inspire others. That's what means to be an artist for me.

Mint: How much does Jeff Satur value his fame today?

Jeff: I value the work. Some people may look at how-well known you are as a success, which it's not wrong, but I feel if you pay attention to how famous you are, you will have the wrong focus. If you're chasing after fame, it will never come to you. But if you work for doing a good job, then the fame will eventually be there. The most important thing is don't compete with other, compete with yourself. Also, fame will be gone one day, and Jeff Satur will not be here forever. But as long as I can be someone's inspiration and sell produce good works, then I will do my best.

Mint: Do you think Kinnporshe has helped people to get to know you?

Jeff: Very much, very much. It's being one of the most important turning points in my life. Including the song "Why don't you stay" has make people to get to know me and listen to my other songs as well. It has pushed me both in my acting career and my music career.

Mint: Have you ever felt sorry that people didn't know you before Kinporsche?

Jeff: I think everything has its own time. If I listen to "Afraid to say" now, I would need to cover my ears (laughs). I felt it was not the right time. I have improved my singing a lot as well as my confidence, which back then was not as strong as today. The stage is my safe place now, and I feel so relaxed on it. I can live there. So I would say everything, including my perception, is at the perfect time. Not better, not worse, but just perfect. It's the best moment.

Mint: Have KinnPorsche The Series World Tour 2023 help you to support your next step?

Jeff: It has helped. The World Tour allowed me to meet people that I don't usually meet like fans abroad. There are places like Taipei, Vietnam or Singapore that I'd never been to, But once I went and I could see how there are people who actually listen to my songs and they sing in Thai is wow, so there is an opportunity to do a World Tour.

Mint: We’ve seen you being more playful on stage, what gives you the courage to unlock this part of you?

Jeff: I've said before that fans like to do memes with my face, right? Like when they find something funny or hilarious. They do like everything about me, even the parts I don't like at all, so I don't have to be cool all the time if I can make them happy anyway. In fact, we're crazy people. When I go to stage, it's the same. I'm tired of "oh, the camera is here, give me a good angle" (laughs)

Mint: Your first solo concert is the starting point or a checkpoint?

Jeff: It's the end of the last chapter. It's the beginning of a new chapter and the end of the last chapter. Oh, what a poet! (laughs). I never thought I could tell the story of my life at the beginning of my concert. The VCR is like a video that I wrote about what I experienced when I was a child, what I used to play and what kind of music I used to hear. There I was playing with Joey, then I was playing the harp, and listening to Korean music too. Perhaps people don't know it, but I'm a Korean music fan, so I picked all of these things to tell. There are many things in my life that have been conveyed through this concert.

Mint: Was your first idea for the VCR like this?

Jeff: Have you ever watched Evangelion? It's an anime and the ending is very confusing, but I think the idea was cool, so I though Why don't I try to tell life stories? Think about it like a sound is made with a story, so every sound has a story, and everyone has a different sound, but also I have a sound that I've collected unconsciously. I want to tell people that there are sounds for everyone. Sometimes there are songs that sound bad but there are not bad songs. There isn't a sad song for everyone or a love song for everyone. it's just one of your songs.

As for the sound of tearing the screen... At that time, I thought it was a cool idea (laughs). That part is dark, right, and then it starts tearing. I explained it to my team and everyone was confused so I got acrylics colors and black paper and I painted it to show them what I wanted and they finally got it. I watched that scene a lot of times and everyone was like, "hey, what's going on?" (laughs). It was just like I imagined in my head, but I didn't do it in the middle of the stage as I wanted at first.

Mint: How do you handle your ideas when you're working with others?

Jeff: First of all, I write them down. Write them all over my phone no matter if they're good or bad ideas. But write them down first. Then, the next day I will check them to see if there's something that works. As for the moment when I have to show them to others... sometimes I have problems explaining them so I have to make them first to see what it will be like. But everyone is always respectful and understand it.

Mint: In addition to this idea, you also chose all the songs for the setlist.

Jeff: Yes, I chose all of them and put them together. The videos, the ideas, the outfits, the set... I feel like people will think that the performance is very serious, but it's a place for us. I feel like I live on stage because it's my safe zone so I want it to represent me.

Mint: Why did you decide to put the song "ไม่กล้าบอกชัด" (Afraid to say) on the setlist?

Jeff: It's a reminder of the beginning. I've reached a safest point, the middle, but this song is part of me and it reminds me of my childhood and how he's known as Jeff Satur now, so why not sing the first song that made me known? I sang this first song with him in the back of my mind. We're far away and maybe he can't see us clearly but I sang that song with him. Slowly I've come forward and end up on a stage, so it was like meeting him with the first song.

Mint: You are involved in every step of your work so, do you get obsessed with the result?

Jeff: It's hard, like in the music video, I sat and edited it as well. I sat and use an editing program to tap and see the frames because I wanted the image in my head to come out as straight as possible. P'Pan, who is the director, helped me. If my idea wasn't working, I had P'Pan to guide me. He listened to my idea and my story and helped me to write it, so I have to thank him very much.

Mint: What else will we see in the next step?

Jeff: There are many things that I can't say but I'm very excited to try out. I still want to try to play in a movie which it's something I've never done before. I have some collab projects with a thai artist and with a foreign artist too, which I never thought he would want to collaborate with me. And there are places that I've never been and I'm very excited to go. I can't say anything right now but it's coming very soon. Everybody will slowly see it like reading a novel and wondering what the next chapter will tell (laughs).

Mint: Anything you'd like to say to the future Jeff Satur in 2 years?

Jeff: Live a happy life because you owe me one.

#jeff satur #jeff interview #mint magazine #translation #i finished it!!!!#yaaayyy!!!

93 notes · View notes

your-divine-ribs · 8 months ago

Text

Can’t Believe You’re 26

Words: 3.5k words

No warnings, just talk of losing virginity // I originally wrote this in response to an ask I got about being late 20s and not having had a first kiss // I was going to write a part 2 but realistically I might never get around to it so I’ll leave what happens next to your imagination!

Imagines Masterlist Main Masterlist

It's funny how things turn out. You never would have pictured yourself here at 25 going on 26, single, living alone, still a virgin. In fact you'd never even kissed a boy. You'd been shy all through school, concentrating on your studies rather than the lads like the rest of the girls. Whilst they were telling wild tails of sloppy snogs and wandering hands and being fingered behind the youth club, you'd just sit there taking it all in, trying to hide your blush, half-intrigued, half-horrified.

By the time you got to your late teens, things just got even more awkward. All your friends were obsessed with boys, who was flirting with who, who was shagging who, which boys were to be avoided and who was lusted after. You just buried your head in a book, conveniently zoning out when attention turned to you, vague answers tripping off your tongue when your friends probed you.

"Ah, don't bother asking Y/N," Sally your best friend would say. "She's more interested in fictional boys than the ones down the local pub!"

Sally was the only one who knew of your situation, and she tried in vain to set you up with a procession of suitors who just fell short of your expectations every time. You were accused of being too picky and you were, but it was more than that. The older you got the more you feared telling a potential boyfriend about your inexperience, so you ended up avoiding relationships altogether.

You'd met Van at school and he was in the year above you. He was never in the cool crowd or the geeky crowd, he was just one of those lads who didn't really fit into a clique. He'd turn up for lessons, scruffy haired and cheeky smiled, doing the bare minimum in class to get by without getting into too much trouble, but he was never going to top the class. He was a dreamer, you could see it right from the start, the first day he'd walked into the music room you'd seen the glint in his eye as he'd picked up a guitar. And now here he was at 28, living out his dreams, touring the world and releasing platinum selling albums.

Van was one of the few people you were still in touch with from your school days. You'd forged an unlikely friendship since day one on your first meeting in the music room. Van was an aspiring musician and you loved to sing, and you quickly bonded over your love of music. He wasn't like the other boys who feigned interest but really had an ulterior motive. He never overstepped the mark and made you feel uncomfortable. You often wondered whether he had a suspicion about your lack of experience, but he never said anything, and that suited you just fine.

"I can't believe you're 26!"

You look up at the familiar voice which distracts you from the present you're currently unwrapping. You're holding a small birthday party at your house, just a few select family and friends, and you really weren't expecting Van to come. He'd been invited of course, but he was always so busy, you'd never actually expected him to show.

"Van! You're here!" You exclaim, pushing yourself up from your seat on the sofa, the half opened gift falling aside as you launch yourself into his arms.

"Woah! That's some kind of welcome!" He says, laughing, wrapping his arms around your waist and drawing you close.

You melt into his arms, the realisation of how much you've missed him flooding you as you bury your head in his chest. Why does he always smell so goddamn good?

"I didn't think you'd make it," you mumble into his shirt, breathing him in. "I thought you'd be too tired after the tour."

"Yeah well... I always make an effort for my special girl don't I?"

This comment raises heat to your cheeks, and you're just glad that Van can't see your face. Since he's been off touring the world the small crush on him you'd harboured since your school days had taken on a life of its own. It's now grown to such a level that you're feeling like an awkward teenager around him again.

"Good to see you Van," your mum beams at him as you reluctantly pull away, then her eyes slip down to you. "Y/N's missed you, haven't you love?"

You turn your head away from Van, glaring pointedly at your mum with a look which tells her to back off, see the small smirk on her face which lets you know she knows exactly what she's doing. She's always liked Van and you know she'd be delighted if anything was to happen between the two of you.

"Errr... yeah sure, of course I have!" You mutter, hoping the ground might open up and swallow you whole. "It's been months since I last saw you... so how was the tour?"

Van's whole being lights up when he starts talking about the tour. It's one of the many things you love about him, the way he positively glows when he's passionate about something.

He launches into an epic story of the American tour the band have just been on, hardly pausing to take a breath, and you listen on, rapt. It's not long before you've fallen back into your easy way together, chatting effortlessly, laughing and joking like the good friends that you are, thoughts of seeing Van in a different light falling to the back of your mind. That's until he catches you in the kitchen just after the last party guests have said their goodbyes and filtered out the door.

"God I'm knackered!" You sigh, reaching for the kettle to flick it on, not bothering to ask Van if he wants a cuppa, you just know he will.

He steps over, leaning on the kitchen cabinet next to you, nudging you gently. "That's what happens when you get old," he teases. "Next you'll be taking afternoon naps and dribbling everywhere!

"Fuck off!" You grin. "I'm not that old, I'm in my prime you know!"

He nods, mirroring your smile. "I'll say! I'm surprised some lucky guy's not come along and snapped you up!"

You immediately feel yourself start to blush again so you turn away, busying yourself with making the tea, pouring out boiling water into the mugs. "Now you sound just like my mum!"

"Surprised she's not married you off to someone yet," he chuckles. "I do love your mum, she makes me laugh. Reckon she's been trying to set us up for years ya know."

As he speaks he edges closer and you dip your head down, stirring the tea, sure now that even if Van can't see your scarlet cheeks he'll definitely be able to feel the warmth. It's quiet for a moment, the only sound the spoon clinking on the side of the mugs as you stir, and then Van speaks, breaking the silence.

"Y/N... can I ask you something?"

His quiet almost wary sounding tone immediately sets your nerves on edge and you feel yourself tensing up. You still daren't look up, but know you'll have to eventually. "What?"

Van moves then to your relief, crossing over to the fridge and opening it, taking a bottle of milk out. "Look... you can tell me to mind my own business if you like... it's just... I wondered..."

He trails off and you do look up then, meeting his blue-green eyes which are regarding you cautiously. You can feel your pulse quicken, his obvious awkwardness just creating a strange kind of uncomfortable tension.

"You're making me feel nervous now," you say, your voice coming out small.

Van's face folds into concern and he steps forward quickly, setting the milk down on the counter. "Shit, I'm sorry. I didn't mean for this to be awkward but now it is... I just... I just wanted to ask..."

He stops again, and the fact that he's just dragging this out now is torturous. "Just spit it out!" You blurt. "What do you want to ask me?"

"Have you ever... you know?"

Fuck... what is this?

"Have I ever what?" You say, your voice strained, your stomach churning into knots. Of course you know exactly what Van wants to know, and the fact that he's about to blatantly ask you such a personal question fills you with horror. It doesn't matter that you've been friends since you were 13, the thought of him knowing this private side to you makes you deeply uncomfortable.

He sighs, eyes darting around the room before they come to rest on yours. Your cheeks are in a permanent state of scarlet now and you don't even try to hide it. What's the point? Van can already see that you're mortified, and still it doesn't deter him.

"Since I've known you, you've never had a boyfriend... or a girlfriend," he says, slowly, carefully, watching your reaction. "And Sally says you've never hooked up with anyone..."

What?

Your mouth drops open in shock. "What the fuck? When have you been speaking to Sally? And what the hell was she doing talking about me to you?"

Van visibly winces at your reaction as he realises that he's just managed to get your friend into serious trouble. He starts talking fast, holding up his hands in a conciliatory gesture. "It was before we went on the tour. Me and Larry were just in the pub and we bumped into Sally. She was drunk... we all were. We just started talking about school, and who we'd been out with and stuff..."

"Oh and I suppose my lack of sex life just slipped into the conversation?" You cry, exasperated, making a mental note to kill your best friend in the slowest, most painful way possible.

"Actually... I asked," Van says, so quietly you think you might have misheard him, but then he speaks again, and your mind immediately goes into a spin.

"I like you... I mean I really like you. And I have done for ages..." he trails off whilst you stand there in shock, raising his eyes up to the ceiling like he's looking for inspiration. "Fuck... even since school, but you never seemed interested in me... or anyone."

This isn't happening. It can't be happening. You feel lightheaded, your heart pounding. Van carries on, looking nervous as hell now.

"Look... just tell me if I'm making a fool out of myself here. I can go if you want..."

He starts to step back like he's making to leave and you feel a panic rising. You don't want him to leave. You might be in a state of shock, but a million fireworks are erupting in your chest at his admission, and you know that if he walks out now this will become one of those awful cringeworthy moments that drives an awkward wedge into your friendship.

"Don't go!" You exclaim, and he stops in his tracks, eyes wide, hopeful looking. "I'm sorry I'm acting kind of crazy, but I'm just really shocked... and massively embarrassed."

He steps forward quickly, and you find yourself pressing back into the kitchen counter as he keeps coming. He doesn't stop until he's a foot away, and to your surprise he reaches out his hands, placing them gently on your waist.

"I'm so sorry, I really didn't want to embarrass you. I can't believe I even came out and asked you. I was just so curious."

Now he's standing right in front of you there's nowhere to hide. Your mind scrolls through possible replies, considering fabricated scenarios where you've been with any number of sexual partners, but it seems ridiculous to lie. Van's always been such a good friend, and you've never knowingly lied to him in the past. You've never needed to. Why start now?

"I... I've... errr... I've never..." you trail off, cringing inside, waiting to see Van's lips twist into a smile, but they don't. He looks so sincere, you feel a sudden rush of boldness, throwing caution to the wind. "I've never slept with a guy... I've never done anything. In fact I've... errr... I've never even kissed anyone."

You look down immediately, studying your feet, embarrassed beyond belief, wondering what happens now. You feel Van's fingers flex on your hips, holding you firmly but gently. He shuffles forward slightly. He's so close now, yours bodies just inches apart. Your heart's hammering so hard you can practically hear the blood pumping around your body.

"Don't be embarrassed," Van says, his voice soft. "You shouldn't be ashamed. There's nothing wrong with that."

"But I'm 26 years old!" You cry, looking up then. "It's fucking pathetic!"

Van shakes his head, little creases of concern wrinkling his forehead at your obvious discomfort. One of his hands leaves your hips and he places two fingers under your chin, tilting your face up to meet his. "Don't say that. It's not at all. I think it's..." He breaks off, a small smile tugging at the corners of his mouth. "It's kinda cute... you're cute."

His gaze is intense, holding you in some kind of spell. You've always thought his eyes were pretty, the colour of the ocean, and now you fancy you could actually drown in them if he carries on looking at you like that.

"Van..." you begin, but the words don't come. All of a sudden you don't seem capable of even forming a sentence. All you can think of is him... his lips... kissing them... wondering how he'll taste.

"Can I... kiss you?" He whispers tentatively. "I'd love to be your first... kiss I mean."

You want to. You want it so bad, but you're gripped with nerves. You imagine an awkward meeting of lips, clashing teeth, your inexperience showing you up. "I'm... really... nervous," you admit, swallowing deeply.

"Don't be," Van breathes, his eyes flicking down to your lips. "It's easy. Here... let me show you."

Christ... your mouth's gone dry. You dart out your tongue to wet your lips, your mind spinning furiously, glancing down at Van's lips as he gets closer and and closer. This is it. You close your eyes...

The feel of Van's lips meeting yours is a sensation you're not prepared for. You let out an exhale, a pent up release as his mouth mashes against yours with a surprisingly firmness. His lips feel softer than you would have imagined, warm and plump... and fucking delicious. You let out an involuntary sigh at the sensation, which causes you to pull away, embarrassed.

"Oh god, I'm sorry!" You giggle, your heart pounding, your legs feeling weak.

Van's eyes are sparkling, the grin he's wearing splitting his face in two. "Wanna try that again?"

"Uh-huh..."

You nod eagerly, giggling with nervous excitement, and this time you drape your arms around Van's shoulders, pushing yourself up on your tiptoes, pressing your own lips against his, taking the lead. He lets out a hum of approval, and you feel one of his hands go to the back of your head, tangling in your hair.

His lips are insistent but not forceful, and the kiss is sweet, but there's a underlying passion there which you can tell is barely contained. You can feel it too, as you feel Van's tongue gently nudging yours, exploring your mouth, tentatively at first but with more fervour as the kiss deepens.

Tension leaves your body as you can feel yourself relax, and you push your body forward, meeting Van's, your hips touching each other's. A small sigh escapes him as you feel the warm weight of his body pressing into you, the hardness of the kitchen counter pressing into your bum. A flare of heat floods your body and you curl your fingers around the nape of his neck, tugging at his hair.

All of a sudden Van pulls away, but only just, his face inches away, the warmth of his breath tickling your skin.

"Hold on... I just... errr... I just need a second."

He's breathing deeply, a flush on his face that you're not used to seeing, his eyes simmering with lust. You know he's being mindful of you, worrying about rushing things, not wanting to push the boundaries, but you're feeling reckless, the kiss awakening something in you that you've not felt before.

"I don't want to stop," you say, your voice coming out breathy. "I want... I want you to be... my first."

The words just spill out of you and its like you have no control over them, your body's reaction to having Van this close. You've shocked yourself, and you're not the only one. His eyes go wide, his mouth falling open. He looks stunned as the weight of your words hit him and sink in.

"But... it's too fast... I don't wanna rush things."

"You don't wanna rush things... or you're worried about me rushing things?" You ask, your hands falling away from him as he steps back.

He blows out an exhale through pursed lips, runs a hand though his hair, pushing it back. "I don't want you to do anything you're going to regret. Your first time... it should be special. You've waited this long..."

"Exactly!" You cut him off. "I don't wanna wait anymore. I really want this... unless you don't want to?"

Your enthusiasm dwindles mid-sentence as you feel anxiety wash over you. Maybe he doesn't want this after all. Maybe you're reading this all wrong.

He steps back again, shaking his head, looking flustered. You watch on as he turns on his heel, starting to slowly pace the length of the kitchen. This just makes your apprehension increase. He's obviously just trying to find the words to let you down gently. Suddenly you just want him to go, the exhilaration you felt from your first kiss already seeming like a distant memory, the sting of rejection piercing your heart.

"I'm sorry... let's just forget it hey? Just forget I said anything. It's been a long day. I'm just tired."

You start to turn away, reaching for one of the forgotten cups of tea, feeling dejected but not wanting Van to see it, hoping he'll just say goodbye and slip out of the door, lessening your embarrassment at misguidedly coming on too strong.

Fuck... what were you thinking?

There's quiet behind you and you think that maybe Van's stepping away, treading gently to ease the awkwardness of him leaving. You sip your tea, grimacing at the now only luke warm temperature, waiting for the sound of the front door opening and closing. But the sound never comes. Instead you hear footsteps, close behind, soft footsteps getting closer. Then you feel hands on your hips, warm firm hands, and they don't stop there. They continue their journey around your mid-riff, wrapping around you, the feel of Van's warm body pressing into your back, his head nudging into yours as he nuzzles into your neck. When he speaks his voice is soft and gentle.

"Y/N... you don't know how much I want this... how much I've always wanted this. Ever since that first day I walked into the music room at school I wanted you. When I heard your voice it was so fucking beautiful, and then I saw you and I was blown away because you were beautiful too."

You feel your body tense at his words, the feel of his hands holding you tightly, his body flush against yours. You can't believe what you're hearing. All those years Van never let on how he felt. You never imagined for one moment he saw you as anything but a good friend, your perceived plain looks back then and awkward demeanour sure not to attract anyone, let alone the boy who you secretly dreamt about every night.

"But... why didn't you say anything? You never let on... besides, you always had a girl back then. Lisa, Abby..."

Van lets out a laugh, a small kind of incredulous snort. "Yeah, I had girlfriends... lots of them I'll admit, but you were the one I wanted. I just never thought for one second you were interested in me. I just kind of gave up hope..."

Your boldness is back. It floods you with surprisingly certainty. You push your body back slightly, just enough so that Van's hold on you loosens, not enough that he breaks away, but enough that you can turn your body around so that your facing him, as close as you were before.

This time you don't hesitate, you reach up a hand to his face, cupping it firmly, willing him to look down on you and he does, his eyes simmering with a warmth that just makes you sure that this is what you want. You've never been more sure of anything in your life.

"I want this... I'm sure," you say steadily, maintaining his gaze which is burning into you now. Then your voice drops low, barely a whisper as you look up at Van through your lashes. "Take me to bed Van."

#catb imagines #van mccann #van mccann x reader #fanfic #vanfic

9 notes · View notes

putschki1969 · 1 year ago

Photo

New Album『Sono Saki e』 Comments by Everyone Involved

This album may have been the longest production period in my career. It took more than a year to complete this album full of messages that Wakana wanted to convey. I have been working with Wakana since her solo debut, creating works together, producing her live performances, etc. The first concept we came up with for this project was an image of a ray of hope shining brightly through this sad and suffocating world, with Wakana's voice representing a soothing light raining down from heaven. I asked all the composers, lyricists, arrangers, and musicians that I truly trust to help us express such a scenery through their music and words. Wakana herself spent a lot of time working on her lyrics, practicing her singing, and recording. It was her who suggested the title "Sono Saki e (Beyond this Point)". She was very determined about everything she wanted to express with this album. It’s about the strength to open up and stay true to yourself without being afraid to move forward and not allowing yourself to be held back by current events. I am proud to say that all the songs are sparkling and shining just like Wakana herself. I am full of gratitude to all the creators who have contributed to the production of this album. I hope that everyone who listens to these songs will continue to move forward together with Wakana! With this album all we wish is for everyone’s future to be bright, kind, and full of love.

Producer Satoshi Takebe

----------

This was the first time I wrote lyrics for Wakana-san. When I heard Muramatsu-san's beautiful yet sad melody, there was only one thing that came to mind. All the tragic events that have taken place in Ukraine right after the invasion, women and children leaving the country, having to say goodbye to their husbands, fathers, sons and brothers who remained in order to fight. Countless fateful choices had to me made, families and lovers were torn apart. Yet the war still continues in this opaque world. I wanted to provide a bit of hope for such dreary times, show a way how we can continue living despite not knowing what lies ahead of us. Wakana-san sings the lyrics perfectly, accentuating each tiny fragment of sadness and hope.

Yūho Iwasato ("Kibou" - Lyrics)

----------

I would like to congratulate Wakana-san on her album release! I am very happy to be in charge of composing and arranging the lead song "Butterfly Dream". It was my first time working with Wakana-san, in preparation for our first session together I listened to her past works and tried to get a feeling for her voice, gradually my image of Wakana-san was expanded and I was able to create a new worldview for her. I wrote the song so that Wakana-san's delicate and powerful voice would stand out amidst mysterious chords, I wanted her vocals to feel as if they were floating on top of the melody. As for the arrangement, I played around quite a bit with various tricks such as chord progressions, different melodies, and rhythms, so I'd be happy if you could listen to the song and discover various things!

Yuki Kishida ("Butterfly Dream" Composition & Arrangement)

----------

"I would like you to write a song for Wakana that showcases her beautiful voice and talent. She is an incredibly capable singer so she can 100% do a song with a high degree of difficulty.” When Takebe-san made such an offer to me, I got very excited and ended up writing a very difficult song. I honestly struggle to play it myself. But somehow this is what it took to create and express such a "beautiful harshness". Just as Takebe-san said, Wakana turned out to be a singer with great talent!

Shin'ya Kiyozuka ("KEMONO" - Composition & Piano)

----------

Hello, I am Kujiraba. I am an artist and usually draw manga but this time I was asked to write lyrics for a song. When I listened to the demo tape, I felt a strong sense of frustration and the urge to run away. Immediately I was reminded of the confusion and pain that is prevalent in today's society. If you're in a place you don't want to be in, don't give up, continue resisting even if you don't have the strength to get out. Sharpen your fangs and claws and prepare to escape. KEMONO is a prayer song for escape, hoping that you can go to places you have never been able to go or places you have given up on. It’s for everyone who feels alone, anytime, anywhere. If you are in a difficult place right now, I would be happy if this song could provide some comfort for you.

Kujiraba ("KEMONO" - Lyrics)

----------

Before I started working on this song, I wanted to get a lot of input from Wakana, I wanted to hear what she had to say, listen to her story. After spending a lot of time together, learning more about her and sharing our tears, I wanted to write a song that perfectly encapsulated all the precious feelings that Wakana-san carries in her heart for her late father. I wanted to make sure that every word she told me would be sown into the very fabric of this song. Her path as a singer, the way her father had always encouraged her, how her existence in the here and now is her father’s legacy. Wakana's clear singing voice has a radiance that seems to reach the sky. I am so grateful that I got the opportunity to work with her.

Yoshiko Hanzaki ("Shirushi" - Lyrics & Composition)

----------

A broken heart Carrying the smallest suitcase Heading to Haneda Buying a random ticket on the way there Wanting to go to the farthest place. Anywhere. Just far away from here

When you are in your 30s, the times are over when you scribble the name of your crush over and over again, you are no longer naively infatuated with the feeling of being in love. You have reached an age where you should be able to recognise each other's strengths and weaknesses. I was thinking about the relationships between men and women. How you should go on a trip all by yourself in order to be able to accept all the things that you previously weren’t able to accept about your partner. This way you can become stronger. This song is a poem about how I felt when I traveled to Easter Island once upon a time. I imaged Wakana-san singing the song standing on the cliff. I want them to shoot a beautiful music video with a drone *laughs*.

Yo Hitoto ("Rapa Nui" - Lyrics)

----------

When I started composing Rapa Nui, I had an initial meeting with Takebe-san over the phone. The main goal was to create something that wasn’t J-pop. I gathered a lot of ideas, I wanted to give the song an Irish touch, maybe make it a little folky. Listening to Wakana-san's older songs, I got the strong impression that her voice was very clear, resounding like a fresh breeze through the air. That's why I thought it would be nice to have an ambient melody with a bit of an ethnic essence. In the end, it turned into something that can’t really be labelled properly but Hitoto-san’s lyrics made it possible to envision sceneries of a foreign place. I usually write quite hectic chord progressions but this time I stuck to one chord for the verse and then changed the chorus to a minor key. The part at the beginning of the chorus is very difficult, but as expected, Wakana-san sang it perfectly. I would be happy if you could feel the quiet rock amidst the gentle atmosphere.

Tatsuro Mashiko ("Rapa Nui" - Composer)

----------

When writing music, the most important thing for me is the voice of the artist. Wakana-san's voice is ethereal and full of emotion, there’s a complexity to it that makes you see both light and darkness at the same time. And the lyrics she wrote mysteriously matched the world view I had imagined, it really became a unique song. I hope that Wakana-san's voice will gently light up the hearts of many people in this age of uncertainty.

Toshiaki Matsumoto (”Sono Saki e” - Composer)

----------

During the production days of "Sono Saki e" I always had everyone’s feelings in mind. I wanted to fully understand the world and thoughts envisioned by my producer Satoshi Takebe-san, all the composers, writers and musicians. That’s why I did my best to carefully challenge each song. While feeling the music soaking into my body, I experienced the joy of unraveling the feelings contained in each and every one of them, adding my voice to them many times during the production process. However, there were also many times when I felt frustration and resentment towards myself, occasionally it was painful and tough, but to be honest, those moments were necessary. What do I feel in this world right now, what do I want to cherish, and what do I want to convey to everyone? I put all these thoughts into my album. When you feel overwhelmed by sadness and loneliness, I hope that there will be a moment when my music can provide solace for your heart, even just a little.

Wakana

#kalafina #wakana #news #my translation #my translations #Sono Saki e #そのさきへ #this was so beautiful #LOVED it #so much insight

36 notes · View notes

orchidyoonkook · 1 month ago

Note

Why did I just now notice that you replied back to my message weeks ago? But, then again, I've been preoccupied with everything in life. So I can't blame you. And you were on vacation for some time too, so I'm sure not many people want to social online while they're on vacations.

And it helped with "recharging my batteries" as an introvert.. Because I'm in a healthier mindset now. Being a turbulent INTJ explains a lot if that is true. I'm between INTJ-A and INTJ-T equally, but I slightly lean more towards turbulent though. But that could be the perfectionism.

But it depends on my mindset? Since I'm similar to an INTJ-A in more healthier mindsets, but INTJ-T in unhealthier mindsets. At least that's what it seems like to me. That might be unnecessary information.

Ignore that.

I did have a lot of ups and downs with bands, musicians and music in these months. Bands with disbanding or reuniting (technically it's the band coming out of hiatus); musicians dying, or starting new musical careers. And also a lot of songs and videos being released this year.

I couldn't go to the concert. The concert was in their native county so that would have been more money than even I could afford. If they do come back to my country, then I'll try going to their concerts here if it ever happens. Hopefully, I'll be able to meet the other band members, even if I never got to meet the musician who dyed. That was draining.

I didn't think you were making it about yourself. But that's definitely a main autistic trait when it comes to their grieving.. Or in situations for the autistic person trying to help with someone grieving. If we are not able to process our emotions, we try explaining situations to people if we're trying to connect with that person. Sometimes it can be helpful in some situations but there may be situations where it upsets lots of people too. So it depends on the person. But I didn't take it that way.

But that was my step grandmother so she was younger than a typical grandmother. Well.. It's complicated to say. Since grandmothers have different ages now. Anyway. She died of cancer, and she actually died not even a week after her diagnosis. Like four days later? So we never had the chance to spend time with her before she died.. Just because she was in a different state when she died, but she still had her family caring for her though. So family was with her when she died, so then I can say she wasn't alone. She wasn't alone, and she didn't suffer at all either. Her birthday's coming up (actually her birthday is just a couple days after mine). So now I only have one grandparent who's still alive.

Well.. The symbols. The symbols I was mentioning before, that font is specially made for fonts. You'd have to download that fond to use it at all. But it's only usable on word documents, I don't think it works on a site though. At least not on this site anyone. Which is disappointing.

I don't know? I haven't been speaking to that many people lately. Like maybe one person. Most people I know have either been busy with all their personal lives; family and friends, work, events or vacations. So I haven't talked to many people lately. So I can't remember if I ever did.

To my knowledge, I never had a horrible life. Maybe some oppression at times.. Because my parents can be restrictive about lot of things in my life. Especially my mother who is the overbearing helicopter type.

I'm still judgmental towards them about the oppressive tendencies I'd have because of them. And definitely reasons why I do hate them too.

But I wasn't abused by my family. Or anything like that. So my version of a complicated life is probably different than yours is though.. But it could be how you worded that too? I'm not sure. So I could be wrong.

But! Being the weird child who always enjoyed things that people lots of people hated since a young age, this isn't any different than that to me. Maybe that's how I think of it? Or.. Something along those lines.

But... I just realized that I keep saying that... I don't think that I've ever heard of Bad Omens? I might've heard the band name before, but I'm sure I've never listened to their music. So I can't comment on them in general. But I know what you mean though. You have an eclectic view on your own personal interests that's drastically different from mostly everything else you'd enjoy. I know some people who are like that too.

Yeah. Most of my family, friends, people I know are "authentic" in how we express ourselves. Most of us hate changing ourselves to make so many people like us, we'd rather people like us for who we are. Y'know the whole cliché commentaries of people accepting you as yourself is the simplest way to explain that. But I've always hated fake people. I'd never understand changing yourself for people, just to love other fake versions of yourself. I could have worded that a lot different than that.

As for tattoos and piercings.. I think I know what you mean? Maybe? I knew a couple girls in school who had dermal piercings, and at least a girl, one of them, had to surgically get her dermal piercings removed.. And that was because the metal got trapped somewhere in her body, something like that. So I'll never get dermal piercings for that reason.

My hair has been different shades of blue since November? I have the blue hair at the moment. Since my birthday is next week.. I might dye my hair blue again for now, and then maybe change it sometime after my birthday. Because blues and greens are usually the difficult colors to remove from your hair. I like the blue shades, and I also want to dye my hair green (but only certain shades though) but everyone ends up arguing with me about that. But I would dye my hair blue again, since I did like how the coloring was with those dyes. Not sure about green. And I'm not sure what color I would do after the blue is removed from my hair either. I'm probably thinking colors I haven't done yet though. But I always bleach my hair before dying it vibrant colors because I've always wanted the colors to be extra dark or vibrant depending on it's shading. And it helps that I usually get discounts for my hair when I'm going to my hairdresser, if I go to her, because it depends on styles.

Yeah.. I should've learned how to sew. Or something. A hobby that did involve fashion. Because of being a little person, I'm a midget, then I'd have been able to learn how to create my clothes; based on sizes and styles. When it comes to some celebrities I follow - like any musicians and models with that style - are known to create their own clothing in whatever they want to fit their style but I'm not capable of doing that.

I would love to get back into creative hobbies but sometimes I do feel like I'm holding myself back too? Sometimes like I'm blocking myself.

"Like I wanna spend my days doing my creative hobbies so bad, and then I just.. don't. and then I scream at myself internally." Yes. That.

Apparently autistic people have creative abstract imagination from it being creative abstract imagination and thought processes. So where is that creative abstract way of doing these creative hobbies in ways I think might've helped me. But no. It's completely blocked for reasons that I don't know why that is. And it doesn't make sense why that is.

I do that too. Like.. I do hate telling people I'm autistic because I have always assumed people would notice based on my mannerisms since I always thought it was obvious. The people closest to me know. But I think it's different for strangers, like some know and some don't know too. But the moment I mention my diagnosis to some people, there is a portion of those people who do treat me differently. But, regardless if they treat me differently, I feel like they should accept to me as I am in every way. If they're just expecting me to accept them as they have been, they should accept me as I am. It's that simple. So I may be the biggest cunt ever in these situations, which is fine, that's how I am if I know someone won't accept me as I am. Doesn't matter if the people are family, potential friends, coworkers, and people in general. Like if people expect me to accept how they are, they should accept me as I am too. You can't have it one way. I've never been the masking type.

Exactly! Just because I'm a "slow" learner doesn't mean I don't learn... Everyone has a different way of learning. Some people are visual type learners, some are verbal learners, and some are kinesthetic learners.

Which reminds me. There's four different types of autistic types.. Just like four different personalities. Their Personality Types in Asperger's: Fixated, Disruptive, Approach and Avoidant. I'm not a disruptive type. But I can say that I'm primarily avoidant (with approach and fixated in the mix). Avoidant is definitely my personality but I also have some of the mannerisms of approach and fixated too. Is what I meant to say.

You're what.. Six years younger than me? At least five years younger. I can't remember what your birthday is. If you ever did mentioned that.

My birthday is next week. Like Yoongi, I would actually be the grumpy old person (who isn't that old), who just complains about every young generation. "Back in my day, this happened.." Even if you are younger, at least you know what a vhs is. I think. I'm just assuming that you do.

Don't disappoint me with this.

Oh! Adding onto the story of the daughter friend. This was years ago.. About fifteen years? We bumped into each other again, and we talked during that time. And tried reconciling the friendship. Which was very stupid of me to think that. Because she was older than the last time, I was expecting her to be different. Like she matured. But no. So when we were trying to reconcile, she invited me over to her house to hang out with her and even invited me to sleep over too. Her and her father (this was before my parents stopped being friends with him) came to pick me up at my house, since their new house (after they've moved), was so far away. She brought her boyfriend with her. So instead of us hanging out as old friends trying to spend time together like I actually thought, was just me being a third wheel to her and her boyfriend the whole weekend. Like why invite me over if we're not spending time?!

That's another thing I hated about her. Safe to say that family is not in our lives anymore. So they're definitely horrible people in my opinion.

"(Made me giggle when I read it in the first place cuz owning up to things like that is something I am notorious for doing.)" Because I see no point in lying to people. I own who I am, the good and bad traits of me. The balance of who I am. So why waste time trying to be another person. Why waste time lying to people. So my honest seems like I'm an insensitive person, even a cunt a times, but I see no point in lying.

"But the sun is such a beautiful thing to have in life, to not go out and greet her every now and then." Not when you have heat intolerance in life. Another reason why I've rarely left my house during the summer.

The heat tolerance is part of the sensory overload in autism for me.. It has been something that I've always had since I was a baby. Were you ever underwhelmed or overwhelmed in different temperatures?

https://augmentive.io/blog/autism-heat

If you ever wanted to read about it.

- 💋

I literally just counted the months I have been a horrible friend for not answering this sooner and literally said out loud "Oh my god I'm so bad at this."

I really shouldn't make promises I can't keep, but in all honesty I didn't know I wouldn't be able to keep it when I made it. Being an adult is stupid because it keeps you so busy and I hate it and love it at the same time.

Please accept my most humble apologies for being absolutely shit at answering asks, outernet life is insane and unfortunately my internet life suffers the price.

You did better than me dude. I literally cannot apologise enough. I wish I could say I'll do better in the future but I've learned my lesson and all I will say now is I will try my best to be better.

I hope this has remained true!! I love that you've managed to create a better mindset for yourself. That takes such hard work and I am so proud of you <<<3333

I myself am a ENFJ-A, but I'l be honest and say that I am not up to speed on what that means exactly.

Any info you are willing to share is good and necessary. I will not have you second guessing wanting to share bits and pieces of yourself, that's completely normal and I appreciate you for trusting me with it.

Ignore that.

Ooop to late XD sorry..

That's.. incredibly turbulent. I'm both happy and excited for you whilst also being truly sorry for any loses you've experienced regarding thid topic. These kinds of loses always hit in such a specific way that it's hard to describe, you just know it hurts, and for that you have my comfort and wellest wishes <3

Well shit! I'm so sorry. I totally get the different country send off. My moms favourite band did that and it killed her not to be able to go.

I'll have my fingers crossed that they do come back to your country for you, as well as being able to meet the members. I know it isn't much to offer, but it's there and it's yours <3

thank you for understanding the way I communicate and empathize, I truly cannot put into words how relieving that is for me. You completely nailed the explination, I forget sometimes how similar we are in this regard.

Oh 💋, I'm truly from the bottom of my heart so sorry for your loss. I hope it's a comfort to you that she had family with her, and that she didn't suffer. That feels like a foolish thing to write now that I've written it, but I don't quite know how best to phrase my sympathies other than I genuinely am so sorry, and that even though you weren't able to be there, that I hope she knew you wished you could have been (if that was indeed the case).

Loss is such a profoundly undescribeable feeling because everyone experiences and deals with it so differently. I hope in the time that has passed since you sent this in that you have been able to spend some time with your grandparent who's still with us (if that has been something you've wanted to do, of course). Or been able to deal with these emotions in a way that has been cathartic and healthy for you.

Insane change of topic to: Happy belated birthday! I'm quite late as it seems, but the well wishes are meant the same as if I wasn't.

Ohhhhhh gotcha, I see what you mean. I thought it was like, a complicated emoticon or something, but I getchu now.

Her blog is Violetsiren90 if that helps at all. And I will say that has been true for me, I don't think my life has ever been this busy or mentally and physically draining before, so I would like to once again apologise for my shit response times, and to know that I am unintentionally doing it to almost everyone I speak to both irl and on the internet. I have at least 20+ message notifications at all times because I'm so backed up and then I just get overwhelmed. All this to say, I really need to get better at responding to people so they know I value them, their time, and their thoughts and opinions, and that the time inbetween them sharing those and my responses is not at all correlated with how much I value them. It's just my brain being unable to tackle the mountain.

We are one in the same here, but it was my dad who was the helicopter.

I'm still judgmental towards them about the oppressive tendencies I'd have because of them. And definitely reasons why I do hate them too.

Once again we're on the same boat.

I was mostly mentally abused but not in a direct way, my dad is a narcissist so it was that kind of like, gaslighting and can't cry otherise it'll be used against me, versus anything else. And like, I was spanked as a young kid but I don't resent them for that at all. I hate to admit it did teach me discipline because my actions had true consequences. But saying this, it wasn't a regular punishment, it was like.. when I had REALLLLLY screwed up as a kid. idk. I don't hate them for it. But I'm also not thankful for it.

Makes total sense to me. I liked odd things as well!

I just need to say once again I adore the fact that you just... like.. understand what I mean. It's so incredibly refreshing and lovely and I can't thank you enough for that.

As for Bad Omens, they are rising higher in the metal scene. They'll be going on 'tour' with Linkin Park!! So that's cool! I love pretty much all of their songs, so if you ever wanna check them out, I totally reccomend them!

No no!!! i totally get it!! That's how me and my mum are. Like why the hell would I change myslef to fit into a group a people who wouldn't like me otherwise??? Like?? I dont get that mentality at all. So the fact that that is just how you and yours are is awesome to me. I love it.

exactly! maybe i've just seen one too many "look what went wrong" videos or too many infection videos or idk dude. I just say that my brain is weird and leave it at that XD

Blue sounds rad dude. I find you cant really go wrong with it, so I hope you rocked that shit !!! Did you stick with it after? or have you since switched as it's been a minute since this was written. I'm gunna guess either Red or Orange just for funsies, but if you just kept the blue, rock on. I did that for about six years XD

My hairdresser gives me a discount too!!! XD

I hate to be the annoying cliche here but- it's never too late to learn something new. And I say that because it's a lesson I've seen repeated by my mom and grandfather. They are constantly learning new things. Like my mum for example, she was 48 when she picked up silversmithing for fun, and now she kicks all the ass at 51.

Sewing is allegedly 'easy' to learn too!! (or so I am told)

I would love to get back into creative hobbies but sometimes I do feel like I'm holding myself back too? Sometimes like I'm blocking myself.

I felt this in my soul.

"Like I wanna spend my days doing my creative hobbies so bad, and then I just.. don't. and then I scream at myself internally." Yes. That.

yes. that. indeed.

I think this may be me as well too. I want to do all of the things but then I just don't, and its another wasted day of either doom scrolling or reading. (I read a LOT)

YOU GET IT. EXACTLY. they just expect to be accepted, it's not evena question in their minds. So I damn well will expect the same thing, and if they don't I call that ableism tbh. And I will not waste my time on them at all. Like god forbid someone be a little different.

I hate that it's even a thing. Like. The second you bring it up and you can see in that exact moment who will treat you differently. and I hate that.

I've had friends who were labelled 'slow learners' but they weren't properly accomodated in school for the way that they learn, so of course when everyone elses needs are met and theirs aren't they're going to struggle.

I used to know which learning I was, but I honestly can't remember now. I just know I'm not a verbal one cuz I have a shit verbal memory.

I had to google this, and I can semi-confidently say that off the bat I identify with the Fixated and Approach -> moreso the cant shut up than the personal space violations, the most. I'm not disruptive at all, and I have bouts of the avoidant, but moreso when I was younger. I'm going to have to do some more research tho to get a better grip on the terms. Thank you for this! This is new info for me.

You're what.. Six years younger than me? At least five years younger. I can't remember what your birthday is. If you ever did mentioned that.

April of '99! That makes you the age of a lot of my friends XD. Most of them are 4-12 years older than me.

I've started to reach the "back when i was young" age and it freaks me out just a little.

Don't disappoint me with this.

Yes I know what and how to use a VHS tape XD I had Rugrats and 101 Dalmations (and more) on VHS for the first like....7? years of my life. On a semi related note, my first car was a '98, so I also know and used to frequently use music tapes/cassettes as well.

I'm sorry (no I'm not) but like... what a bitch??? I would never do that to a friend (I have a longterm bf). Like. I cannot IMAGINE doing that to a friend ever. How stupid must she... actually, nevermind, it's clear from what you've told me that she's barely hanging on to the handful of brain cells she had years ago. I'm sorry she's a shit person, you deserve and deserved better.

That's another thing I hated about her. Safe to say that family is not in our lives anymore. So they're definitely horrible people in my opinion.

GOOD.

E X A C T L Y. I've been called blunt, intimidating, too honest, etc. And I'm just like??? I'm just not lying?? Why do you want me to perform a personality like a court jester in order to gain social approval???

oh that's so valid. When I get super hot I get SO overwhelmed. Like I bike to work (fastest way to get there), and where I am hit temps around 30 C when I would bike home, so by the time I actually got home I was hot, sweaty, overstimulated and just, a mess.

I solved this by showering in freezing water every single day. But for the 15 minute ride home I am miserable.

YES. I h a t e being to cold or too hot. A little more than normal on either end of the spectrum is okay, like if I'm going swimming I let myself get warmer than I'm comfortable with cuz I know I will be in the water soon, or I'll ket myself get a lil extra cold so I can cozy up in 15 layers of blankets. But I hate the extremes.

If you ever wanted to read about it. - 💋

This is marvelous. Thank you.

Thank you so much for this, it was so so lovely to hear from you again. I truly love it. Even if I suck ass at response times. Like I've said in the past, I absolutely will get to it, just in my own time. I never fully ignore anyone, I just demand to be in the right mental space to respond with the same energy given, and sometimes that takes time. I never want anyone to send something in and have it feel like a waste of their time because I don't respond in equal if not more excitement or whichever emotion is necessary.

That being said, I hope you're well. I hope your hair is an amazing colour. Thank you for the new info and resource link! You are darling and I adore you.

I hope to hear from you again!!

#and onto part 232134 of why Yoon sucks at answering her asks #please dont hate me I promise I just suck at remembering #I try my best and that's all I can ask of myself #asks #💋anon #ms.mailbox📬#kind souls

2 notes · View notes

jiminjeonging · 1 month ago

Note

Do u think jm is the most competitive in aespa? This is something I've noticed from her comments here and there. Last year or maybe it was in January this year she did a live amd was talking about wanting to win a daesang, mind u aespa have already won a daesang for next level but this bucket list time for 2024 came after attending award shows last year where nj and ive won daesangs but I thought it was normal to want to wina grand prize too. Then I saw her talking about a rivalry she had with mj when they started training and mj was surprised which led me to belive that it was on sided from her part. Now with the solo songs, we know she is online amd knows up was viral and now she mentioned asking sm to release the solos. Sure she and aespa asked for all the solos to be released but it made me think that jm made this request bcs she especially wanted her solo song to be released to use the momentum..

Idk maybe it's just me and I don't mean this in a negative way but it just made me think. Mj recently talked about not competing with others and doing thinks at her own pace and improving and thins made me think of jm who does seem competitive to me. Jm is also the best at parasocial relationships in aespa and seems to understand the idol industry well. What are your thoughts on this?

yeah jm is competitive and i always said shes very ambitious. i think if you watch their content and dont reduce her to a 2d character everyone can see that. i think this is a good thing too. every artist wants to do well, chart well, win more awards etc etc this doesnt necessarily mean you're comparing yourself with others or feel bad when you dont chart or look down on ppl that dont chart. its about doing better than you did before, its about the goals you have. thats what mj meant when she said that. jm is really good at her job too which includes mantaining a parasocial relationship with her fans as shes not a mere musician but an idol. she pays attention to what fans want and that way she makes suggestions to company. like how mj sent selfies in sailor moon outfit when she saw her fancam was trending. i think jm had clear goals in her head ever since she was a trainee and worked hard towards it. because of her potential and ambition she was set up for that too which caused her pressure but she didnt break so she succeed. now she wants to mantain what she has but since she does that in way thats not arrogant and actually loves her fans it works. i love ppl that stand on business so i dont think theres anything wrong with it.

#jm centric

4 notes · View notes

day6source · 1 year ago

Text

Young K deals with change in new album 'Letters with notes' — a track-by-track guide

by Franchesca Judine Basbas

Young K is back home.

Since completing his military service last April, the Korean singer and DAY6 member has wanted nothing more than to be make music again, to get back on stage and be with his fans. "As a musician, I believed that was the most important thing to do," he told Bandwagon. So, in the last couple of months, Young K has been working endlessly piecing his comeback together and before he knew it, he had a full-length album in his hands. Letters with notes is a heartwarming record recounting all that's changed and everything he's wanted to share during his time away. "I didn't initially aim for a full-length album; I just tried to write good songs and explore new ideas," the singer shared. "Undoubtedly, time has passed. My voice has changed, and I'm sure my thought processes have changed too. These changes have probably influenced the results I’ve achieved in my music." Learning and growing from his debut album in 2021, Eternal, Young K wanted every track on Letter with notes to contain bits and pieces of his heart and soul, emedding all the experiences that has inspired and influenced him over the last couple of months. "The thought of wanting to create an album came from the wish to come back as fast as possible. All the recordings started after I was discharged, but been having ideas coming up in my head, so I can't really define it exactly," said Young K. Bandwagon caught up with Young K to learn about the stories on and behind Letters with notes, track by track. Check it out here.

WAITED (오늘만을 너만을 이날을)

I imagined what it would be like to get back on stage. The song starts off with me saying I feel nervous and asking how all of you were. In the chorus, I sing about how much I waited for this moment.

NOTHING BUT (이것밖에는 없다)

Singing about how it's hard to let go of love even as it fades from view. The song underwent several adjustments, and the title of my first mini album, ‘Eternal’, became the very first lyric of this song.

LET IT BE SUMMER

Talks about how I never want the summer to end, symbolizing summer as youth and the most passionate season, and drawing a comparison to life. I was glad this song was released at the end of summer, just before autumn arrived.

DREAMER (꿈꾼)

I envisioned an image of a person who has been through tough times but still dreams and sees their reality becoming brighter. Stars being drawn, a story of a dreamer.

BUNGEE JUMPING

It was the very first song I performed at a festival before its official release. I wanted to put a refreshing vibe, so I imagined a first-time bungee jumping experience, something I still haven't tried.

NATURAL

The word 'natural' caught my attention for some reason. I thought of what's natural: breathing, having meals, and the flow of time. It’s a very upbeat track with a rhythmical melody, making it quite enjoyable to perform live.

STRANGE

After watching Dr. Strange, the word 'strange' resonated with me. I began thinking of what the norm is. If I'm surrounded by strange people, would I still be considered strange? This led me to the idea that a concert is a place where you can liberate yourself and be free, so I wanted to create a song that asks people to get strange with me. I then brought the melody and lyrics to Park Mun Chi, and I loved how the song took shape.

SOUL

Doesn’t everyone have moments where you have to put on a smile even when you don't feel like it? The track itself already had enough soul in it, so it started off with the word 'soul'. I thought of soulless smiles and made a song looking for the soul that's lost.

PLAYGROUND

When I was editing the song, I was actually sitting at a playground, watching kids play. I came up with the concept first, but seeing them with my eyes made me take a closer look into how we've grown but the life we live isn't so different.

BABO

An English song but has a title with a Korean word. The word was chosen due to pronunciation, but I was pretty satisfied with the result. ‘paulkyte’ who I worked with was introduced by another musician named Eldon, who I enjoy listening to and a good friend of mine.

WHAT IS..

One of the fastest tracks written out of the entire album, I was able to write up to the first chorus the day we started both melody and lyrics. I loved the line and the tone of the piano, so I guess that helped me come up with an idea quickly.

#young k #day6 #day6 even of day #kang younghyun #brian kang #album: letters with notes #young k: interviews #[sorry this got posted a bit late skz at the vmas had my attention lskdjgdklsg]

10 notes · View notes

apureniallsource · 2 years ago

Text

Niall Horan is just getting started.

From his days as a boy bander (ever heard of One Direction?), to branching out as a solo artist in 2016, to now leading a team of hopeful musicians as a coach on NBC’s The Voice while gearing up to release his third album, Horan has experienced more in his career than most musicians could ever dream of. Now 13 years in, he’s hitting a new stride—and leading the show all on his own. “As I grow up, I understand myself as an artist more and more,” he told VMAN last month. “I’m getting to that place now where I know what I’m good at, and I know what sounds good on me.”

Horan has had plenty of time to play around with his sound. His second album, Heartbreak Weather—which was an experimental foray into heartbreak pop and a solid departure from his folksy 2017 debut, Flicker—was released in March 2020, just as the world slowed to a halt for the pandemic. Instead of feeling sorry about the timing, Horan took his sudden stretch of free time and got to work on album number three, The Show, which comes out on June 9. In fact, the major source of inspiration for The Show came to Horan shortly after Heartbreak Weather’s release, when an Instagram Live with his fans caused him to rethink a concept he’d already written. “I looked back and saw that ‘the show’ was something I’d had written down for a long time, but I never really knew what that meant until we were in the pandemic,” he explained. “And then it was clear to me that life is like a show. That’s what it is: it’s ups and downs, goods and bads.”

In many ways, the album reflects that. Horan dances around the joys of being in love and the pains of anxiety and finds his groove throughout the album’s 10 tracks. And as he settles into this new era, he feels reinvigorated as an artist: “I want to play arenas. I want to play packed shows every night. And I want to work my ass off to make sure that I get there.”

VMAN sat down with Horan to talk about the making of ‘The Show’, and his new singles “Meltdown” and “Heaven.”

VMAN: Congrats on the second single, “Meltdown.” You also have your first single, “Heaven,” which is just such a catchy song. When did you write that one, and did you always know that it would be the first single?

Niall Horan: Yeah, to be honest. When we first did it, I was like, “God, this is it. It’s going to be tough to beat this one.” I wrote it in June or July of last year in Joshua Tree with a few friends of mine. I felt like I’d been missing something like that in the record, and I wanted to write that concept, so I just went for it and it kind of just popped out. I’d been singing the chorus melody for a couple of days, or at least the first couple of lines of it, and I wasn’t really sure what the hell it was until one of the guys started playing the chords, and I was like, “I know what this is. I’m gonna sing over that.” And then the concept really fell into place then afterwards.

VM: Is that pretty typical of your songwriting process?

NH: I mean, there’s one song in the record that I wrote in under an hour, and it was like, the words just came flying out. I just knew what the concept was going to sound like, if you know what I mean. But there are other times, like, I had this piano line forever for “Never Grow Up,” but it was just about finding what the song meant conceptually, and what lyrics go with that. Most of the time, I like to have a good idea of what I’m going to say, so I write a story out. If it’s a dark song, it’s probably going to be a ballad. But sometimes, it’s the opposite. Like, there’s “Meltdown,” that’s 170 BPM, very up-tempo, but it’s actually about anxiety.

VM: Every song on the album feels really unguarded, if that’s the right word for it. How do you let yourself get into that headspace to be so introspective and vulnerable when you’re writing? I can’t imagine it’s easy.

NH: It used to be really hard for me to do that. You just have to do it in a way where people understand what you’re saying, instead of being so introspective that you’re writing every little detail of your life, and people are like, “what are you even talking about.” So you want to relate to everyone, but it can be tough to get yourself to that point. I used to worry about being asked about stuff in interviews…I thought about writing about certain things and just knowing I was going to be asked about that forever.

VM: Yeah, hard to kind of walk that line I guess. Would you say music has always been the way that you’ve channeled your feelings?

NH: Yeah, I do a lot of writing. And sometimes, it turns into songs, sometimes it doesn’t, but I try to write stuff down. This is the most cliché thing that anyone’s ever said, but sometimes is like a form of therapy. I don’t go to therapy, but I do when I sit down and play the guitar, you know?

VM: So would you say then that overall, the album reflects where you are in your life right now?

NH: Yeah, I think it’s the best reflection for sure. Even when I listen to it now, it’s got like everything that I feel two years later, sonically, lyrically, and conceptually. It’s all there.

VM: How did you land on The Show as the album title? I know you have the song by the same name, but what does that phrase mean to you?

NH: The title came before the song, to be fair. Back then, I was taking down notes all the time. I’ve got 101,270 voice notes, I checked earlier. And I looked back and saw that “the show” was something I’d had written down for a long time, but I never really knew what that meant until we were in the pandemic. And then it was clear that life is like a show. That’s what it is: it’s ups and downs, goods and bads. And that felt like a good strong concept to me in terms of sitting down to write an album. And once I’d written the song called “The Show,” I felt like alright, I’m off to the races here a little bit. It just kind of fell into place like that.

VM: So “The Show” was the first song you wrote for the album?

NH: It was, yeah. It was like a 1 a.m. Instagram Live with my fans in the pandemic, because we weren’t going anywhere, you know. I wrote the first verse of the song, and then the whole album just made sense from that. It’s a hard one to describe, how it just came about.

VM: Sonically, then, how do you think you’ve evolved in the three years since Heartbreak Weather?

NH: I’ve really started to bring my influences—the stuff that I listen to—into play now. The stuff that I’m into from the ‘70s is coming into play a lot with all the big, bright background vocals that you hear throughout the album.

VM: Switching gears a bit, you obviously got your start on The X Factor. Now being a coach on The Voice, I’m curious if that aligns with what you thought it would be like to be a judge, back when you were a contestant on The X Factor?

NH: I was like a deer in the headlights, back in the day. There’s loads of famous people who have got your future in their hands, and I was still just taken aback by the fact that I was on a big TV show every Saturday night. I was just loving that we were having such a great time, so I didn’t really look at it from the other side. Now, knowing that I have people’s future in my hands is a scary prospect. I have to make really tough decisions about people leaving the competition, losing team members, stuff like that. I can now understand what it would have been like for those people who had to make decisions on my behalf and my future. Apart from that, it’s just an absolute blast. We spend all of our time laughing, on and off camera. The banter between all the coaches is so good.

VM: So, festival season is coming up, and you’re playing at quite a few. First of all, what are you most looking forward to with that, and second of all, do you think that playing for a festival audience is going to be different from a more traditional concert audience?

NH: I’m so excited for festivals—I’m a huge festival-goer. And I always get jealous when I’m watching the artists on stage, just thinking that I’d love to be up there looking at that sea of people. So, I’m looking forward to doing that. But I also see it as a challenge to try and get some new fans, because I’ve been that drunk guy walking around the field looking for the bar, and then walking past the stage and there’s someone up there playing and all of a sudden, I’m listening to their music online. I’ve done that so many times at festivals.

VM: You’ve got to get the people who are in the back getting food or something.

NH: Exactly. Hopefully, the guy going to the bar looking for a drink or whatever might stick around, then might listen to me online, and then might even buy my new record. You never know.

#niall horan #28april

19 notes · View notes

petriform · 1 year ago

Text

celebrating five years of "nothing is for sure," a Big Post! live set and streaming playback stats, the story of "albacore song," and more!

"nothing is for sure" is now five years old! i still consider this to be my most consistent non-concept album (if you want concept albums, i'm begging you to listen to "florence"), and it remains a mainstay of my live setlists! "the jacket" continues to be a part of my ~brand identity™®~ five years on, though i've retired the specific jacket that is depicted - performing in that in the summer was Not Great! (a current depiction would see a vest with way, way more buttons.)

i was curious to see what the play stats looked like after these five years, especially in comparison to how i've treated the material in live sets over the same time period. this is gonna be a long, wildly self-indulgent post, but if i can't nerd out about my own shit, how can i expect anyone else to? and hey, there might be insights applicable for other independent musicians somewhere in here, maybe! (maybe?) so here are the stats!

all told, "nothing is for sure" looks to have attracted over 30,000 streamed plays between the four services i queried. i... wouldn't have imagined that! i'm not going to compare these numbers to any other album of mine because assembling the data takes work and i'm lazy! maybe for the next album anniversary! these numbers aren't inclusive of the instrumental versions, by the way.

as far as the live numbers go, looks like i've played songs from "nothing is for sure" 39 times over 15* live sets since 2017. eventually i'll finish porting my setlists into an actual database for ease of analysis, but today's not that day.

*it's 16; i played a set in february 2020 (oof) for which i've lost the setlist. it's not accounted for in these stats or anywhere else.

initial takeaways from these charts:

i'm really overdue to perform "gone without!" (okay, and "delete!delete!delete!" too, but i feel like that one is inflated by being track 2.) i've been aware that people like this one a lot, whereas i personally prefer most of the other songs on the album. i couldn't tell you why that is. i aaaaaalmost played it for the first time the last couple of sets, but switched it up at the last minute because i felt (and still feel) like it'll be difficult to perform (the verses are fast and long).

on that note, i DO plan to play every song off this album live at least once, and i've been slowly chipping away at that goal. god help me when i try to pull off "punch buggy slug bug" live; it'll almost certainly be the first and last time. i think i'll save "over like rover" for last - it's only fitting, right?

dang, now i have it in my head to just play a set that's just the album front to back. pls book me to do this 🥺 (but ideally book me to do "florence" in full first)

i dunno why spotify likes "pace yourself" in particular but thank you spotify listeners

in retrospect it's curious that neither i or the listening audience seem to regard "ahead of your time" relatively highly given that's the Song That Says The Album Title

all that said, here are some...

fun facts about "nothing is for sure" live:

the first "nothing is for sure" track i ever played live was "killian is lying to you" in march 2017 at DNA Lounge in san francisco - over 15 months before the album's release

this was the only song from the album i played live before its release.

the most recent "nothing is for sure" track i've played was "albacore song" just this past month (may 2023) in san jose, in a set that also included "stay (wish on a star)," "k7 (k9 - k2)," and (for the first time ever!) "wilson phillips screwdriver”

i've got a lot to say about "albacore song" later!

since the album's release, i've never gone a single set without playing a song from the album.

since the album's release, i've never gone a single set without playing "stay (wish on a star)" specifically. this wasn't on purpose. it's in my top 5 most-played-live songs and is creeping up on a few that i no longer play often.

even if i'd never played “stay (wish on a star),” the bullet point prior to that would still be true.

i've had multiple sets post-"Dither Beach" where i failed to play anything from "Dither Beach" but still played stuff from "nothing is for sure".

tell me about the downloads! the $ale$!

okay. without getting too specific, compared to my other full-length albums on bandcamp, "nothing is for sure" is the:

2nd highest-grossing*,

4th most-purchased,

5th most-downloaded.

(if you're wondering what the top albums are for those rankings, "Don't Worry, You're Great!" is all of them. the way things are going (streaming going up, downloads and CDs going down), ostensibly, it'll be that way for a long time.)

the parameters with which i personally measure "success" for my own projects are complicated, but "nothing is for sure" was a success.

*album downloads on my bandcamp are name-your-price. digital gross is pretty much entirely what folks feel like paying. this figure includes CD sales; without CD sales, it'd be 5th.

okay so what did you mean about "albacore song"

so people who've attended my live shows will know about this, but people who have only listened online might not!

i first played "albacore song" in july 2018 at DNA Lounge; the first show post-album-release. cool! that was the one and only time i played it... until chiptune colleague piecesofeight spun up a mashup thereof with Madonna's "Like a Prayer" that struck a chord with me.

so as a nod to that, and in service to my (wavering) habit of doing at least one cover per set, i played "albacore song" once more - again at DNA Lounge, three years later - but this time, i swerved into a cover of "Like a Prayer" for a couple minutes, and then back into the rest of "albacore song."

thus began a tradition of me using "albacore song" as a medley-riffic launchpad for covers that i invoke wherever I can! i'd done (and still do) similar stuff (swerving covers into "Super Dog Park") before, but "albacore song" has gone from a played-it-once song to a recurring trojan horse of sorts for covers in my live arsenal - if you hear me go into "albacore song" these days, expect to hear Something Else before it's over!

this is the first time i've committed these to writing in one place, but here are the covers i've rolled into "albacore song" so far:

Madonna - Like a Prayer

The Catherine Warwick version of Pollyanna from MOTHER (twice)

M2M - Don't Say You Love Me (gotta repeat this one, it was fun!)

and they likely won't stop there! i've since thanked and gotten to meet piecesofeight in person (after having played a set that, ironically, was my first irl set to not include albacore song in years. oops!). you never know when someone or something will alter your course for the better in unexpected ways!

it turns out even less is for sure

those of you who have been around me for a while have known me to periodically release companion pieces to my full-length albums when there were songs that just barely didn't make it onto those albums (most recently for "florence").

the thing about the "nothing is for sure" sessions, though, is that i had a LOT of material in consideration. way more than any other album i've ever done. coming off of "Don't Worry, You're Great!" i was on fire, writing tons and tons. i've entertained the idea of doing the "nothing is for sure" companion piece before, but it'd be a greater task than usual due to how much viable material was in there to begin with.

but as you may have seen me announce, i'll be releasing an eight-track companion piece consisting of the best of those leftover projects titled "...especially any of this" before the end of the month! more "nothing is for sure" for all! this is the biggest companion piece i've ever released, so i'm excited! and... i've got my next album coming along on top of that! stay tuned!

tell me about it!

i can crunch the numbers for as long as i want, but there's no substitute for real feedback. so if you have something to say to me about "nothing is for sure," fire away! what did you like about it? favorite song(s)? ones you want me to play live more? ones that sucked? hey, the album isn't getting any newer or younger - i wanna know!

all in all, whether you were there for "nothing is for sure" when it came out or you've arrived since, i hope you continue to enjoy what i still consider one of my best albums and proudest achievements. thank you!

#chiptune #chiptunes #8-bit #famitracker #petriform #long post #chipmusic

4 notes · View notes

brianconnollyandsweet · 2 years ago

Photo

Cover and article from Beat Instrumental Sept. 1975

(transcript after the cut)

ANDY SCOTT’S SWEET SOUND SECRETS

Sweet have come a long way since the pop days. Now guitarist Andy Scott is getting acclaim, but how does he get his sound?

THINGS are changing fast for Sweet. If you’d stopped any likely looking music lover in the street a couple of years ago and asked him what he thought of the band, you’d have got one of two very distinct reactions. If your sample of the record buying public was young, the Sweet would have been one of his favourite pop groups. Had he been an older and perhaps more sophisticated music freak, then Sweet would have been a dirty word. In the pop business though leopards can and do change their spots. David Cassidy gains a sudden credibility, somebody else “sells out,” and Sweet have become a respectable band who at last are getting the recognition they deserve from musicians and the more discerning buyers alike.

Any band that gets in that position must be doing something right, and when the talk gets round to Sweet, what people discuss is their ability to make hit singles and a dynamic stage act that would make many a heavy band sit up and take notice.

Another facet of the band that’s just beginning to catch the light is the work of guitarist Andy Scott. Scott is the man who throws in those fast solos and power effects on stage, and who adds so much to the band as both songwriter and producer. We met him in the band’s London offices to discuss what it was that went into his playing that was earning him so much respect.

To start with, the main factor in his success is work and experience. Andy has been, as he put it, “slogging away from 1962 to 1970 when I first met Sweet and Chinn and Chapman.” It was that meeting that led Andy on a path that was to result in a lot of success and, at the same time, more than his fair share of frustrations.

The point simply is that his background had been playing the colleges in support bands and carving out a career as a rock guitarist. Now he found himself (happily) in a successful pop group and although enjoying it, he admits that there were frustrations in the period before the band broke away from Chinn and Chapman and launched their career on their own.

“I’d never known pop music like that, and I quite enjoyed it because it was a bit of a refreshing change. Still, we should have made our break at the end of ‘73, when we first broke with Chinn and Chapman. This has come a year a half too late.”

Germany

However, America still seems a long way off to Andy, whose first love is Germany where Sweet are regarded as being one of the biggest bands since the Beatles.

“It’s because of Germany that we’re still around, because it gave us a place to work and a base. The audiences over there are far less fickle, not like over here where one minute they’re screaming for us and then the next minute the Bay City Rollers ... I’m glad to be out of that scene!” In Germany (and, in fact, in Scandinavia as well) Sweet were accepted right from the start as a live hard-working band. The support they were given by the German and Continental public has enabled them to slog away till they reached their present position of near respectability.

Yet Andy is still not over-happy about the current state of their single hits in Britain. He is strongly self-critical of his own work.

“On Action the production is perfect but there’s still too much there. I believe in rawness, though not so much that you don’t do yourself any favours like we did with Desolation Boulevard. Singles have to be commercial and there’s no point releasing them if they’re not going to sell. That’s why Fox on the Run was purely and simply a pop single for the purpose of giving us a hit in Britain.”

Before the new Munich album is released here, though, there is a live album on its way. The reasoning behind that is simple. America doesn’t want the new studio album to be released in Britain until things are ready for the band in the States. That means that the new album will be held up until January next year. Hence the live album which will contain some material recorded in 1973.

The subject of live recordings gets us onto the topic of Sweet’s reputation as a superbly exciting live outfit. There’s a further addition to that as well, because it is through live work that Andy has built his reputation as a guitarist. In terms of equipment, we asked, what went into his extraordinary style?

“At the moment I’ve got several guitars. A Les Paul and a couple of Strats, a Gibson 335, and some French pickup model Gherson guitars that I got from Jeff Gardner at Davoli.” Had the interview taken place a month or so earlier, there would have been another Strat to add to Andy’s list but that, as he explained, was the victim of an attack of frustration. “There are some things that you can play on stage and some things that you can play at home that just don’t seem to come in the studio. I’d spent two hours trying to get twenty bars right in a studio when I just picked up the Strat and threw it. It fell to pieces and then I just picked up my Les Paul and did it straight off.”

The Les Paul in question is one of the flat bodied models which Andy has had fitted with a Bigsby tremolo. It’s a nice guitar, he admits, but sometimes he uses Strats and at other times the Ghersons. Scott’s sentiments about the Fenders echo the thoughts of many guitarists. “I sometimes use my Gibson 335 on stage because I can play really fast on that and more accurately too. The Strat, though, is a bastard to play but once you get used to it, it can make you a better guitarist. To get a Strat to feedback properly, though, is difficult. You really have to do something to it otherwise it just whistles. The main problem with that 335 of mine is that it’s really too fragile for me. I’ve tried rubbing it against my speaker cabs and the nut comes off or I lose a fret. With a Strat you can belt hell out of it and it’ll stand up to it.”

Sounds

Strats also mean different amplification according to Andy. Normally he uses HH for his Gibsons but to get the sound he wants out of the Strat he has been using Acoustic amps. The Acoustic in question is one of the lead models with built-in effects (he wasn’t sure of the exact model), equipped with a graphic equaliser. The HH amps are a set of combination amps (three IC 100′s in all) plus an HH top and a couple of 4 x 12′s.

It is here that we really begin to get into the realms of fantasy though, because Andy has gone into a lot of experimentation to get the sound he wants in terms of effects. Without breaching too much of his official secrets, we did learn some of his tricks.

Up until recently, he has been using two synthesisers for stage use: an ARP Odyssey and a Davoli guitar synthesiser. Due to the drop-off in attack when there is no guitar playing, the ARP has gone by the board and Andy is now sticking to the Davoli to give some of his strange stage sounds, which include getting three-part harmonies going with himself.

Adding to the list of equipment behind his strange sound lies a Revox tape recorder with pre-recorded cellos and what have you, and two echo units: one a standard Watkins Copicat; the other an HH tape echo with a special head added on to the back of the unit to give a possible two second delay. “What you’ve got to do is just hit the notes at the right time,” he explained. “That way you can play along in harmony with yourself. The trouble is that at the moment the first repeat is very strong and then as more goes into the unit it begins to fade out and distort. What I’d like to do is feed the output of the echo into another amp to keep the repeat strong.”

Yet another of Scott’s tricks is to set the tremolos of his amps out of phase with each other so that he can make use of the effects. All these units are controlled from two boards which he has made. One of the pedals here also controls the Revox and yet another is an instant cut-out switch that leaves a tasty echo effect when it is hit.

Perhaps Scott’s weirdest machine is a heavily modified Gherson which he refers to as his Frankenstein guitar. The instrument has had various bits and pieces carved away from its guts and tiny smoke generators installed in their place. The result is quite literally a fire-breathing guitar! Andy has only to hit a button and smoke billows out of the head and out of a pipe at the bottom of Frankenstein. It’s not only smoke that comes out of this strange creature either, because, as Scott throws it in the air, fire billows out from it and it falls to the stage in a shower of sparks! Quite impressive, but costly, as Sweet are forced to carry around a load of spares needed to repair Frankenstein’s injuries.

Scott’s stage sounds aren’t at all represented on Sweet’s singles, so a large proportion of the band’s record audiences may have little idea of what they sound like live. Perhaps the new album will give us a taste of what they can do. Certainly they could get America alight, but will they ever slay their British image of being just another pop band?

#articles #images #Andy Scott #Brian Connolly #Sweet #The Sweet #1975

7 notes · View notes

ear-worthy · 2 years ago

Text

Podfluencer Society Podcast: Helping Podcasters With Their Brand & Business

Imagine that you run a podcast that helps existing and aspirational podcasters. Here is the pitch for the podcast to help other podcasters.

“Calling all podcasters (& aspiring podcasters too)! After over a decade in Nashville managing the careers of celebrity musicians, your host Angie Griffith now has a mission of helping YOU to dream bigger, think outside of the box, and create a THRIVING business with your podcast at the center of it all. Tune in each Monday for a mix of solo episodes, guest interviews, and even recommendations for other podcasts that can help you along on your creator journey — and walk away with 4 things to keep you inspired and moving forward as a podcaster.”

In essence, your business and podcast helps other podcasts grow, change, achieve their business objectives, adapt, and improve.

Now imagine that you’re prescient enough to take your own advice and change, adapt and improve.

And that’s exactly what Angie Griffith is doing with her successful 4 Things For Your Podcast. She’s rebranding.

Change is good, but it can be scary. But Griffith knows exactly what’s she doing with this rebrand.

Starting April 18th, 4 Things For Your Podcast becomes Podfluencer Society. It’s the perfect portmanteau that describes successful podcasts and their influence on our society.

Griffith connects the following mission statement with her rebranding.

“A podfluencer is building a thriving brand and business, with their podcast at the center of it all.”

Consider that it took millions of dollars for Facebook to come up with the “blah” and inscrutable Meta as its rebranding. Or Dunkin’ Donuts, who decided in a meeting, “let’s drop donuts from our name and call it a rebranding. Who wants donuts for lunch?”

By contrast, Angie Griffith relied on her natural creativity and experience in the podcasting field.

Griffith’s new show, Podfluencer Society, will live on the same feed, and will share insights from top industry leaders across podcasting, the creator economy, the entertainment business, and more, with topics including launching, marketing, monetizing, mindset, and beyond.

To celebrate the rebranding, Griffith has launched four episodes that announce the news, share her learnings of the past year and her reason for rebranding, and an interview with Allie Reeves of All In with Allie about how to know it’s time to rebrand your podcast and what to do from there.

Since Griffith began her podcast for podcasters, she has cast a wide net for topics for her show. For example, in February, she released an episode, How to Become an Expert Rambler (and not say “um” so much.) with Maggie Sturgis. Last October, Griffith released an episode about money-saving tax tips for podcasters. These two episodes demonstrate how she can maneuver seamlessly from podcasting basics to the intricacies of a topic such as taxes.

That’s a tightrope that has sent too many podcasting shows spiraling into obscurity.

Griffith’s episode about making money with a tiny audience is a must-listen. So many times I speak to podcasters who say they want to be the next Joe Rogan, Roman Mars, or Audie Cornish. Griffith’s point is: “you can be yourself and still make money at podcasting.” Angie Griffith ventured into building her own brand and business in podcasting in March 2021, after spending over a decade in the music industry and spearheading the launch of a Podcast Division at an elite artist management firm. Through her extensive experience in high-level entertainment, she offers a unique and valuable perspective to her audience of “podfluencers,” a term she coined to describe content creators, reality television personalities, and other influencers who are building thriving brands and businesses, with their podcast at the center of it all.

Griffith was selected by Apple Podcasts for inclusion at the top of their curated list of Best Podcasts For Podcasters, nominated for TWO 2022 People’s Choice Podcast Awards, and featuring a wide variety of industry thought-leaders and noteworthy guests, her newly rebranded Podfluencer Society podcast shares insights from top industry leaders across podcasting, the creator economy, the entertainment business, and more, with topics including launching, marketing, monetizing, mindset, and beyond.

Angie Griffith was a multi-stage presenter and featured panelist at the 2023 Podcast Movement Evolutions conference in Las Vegas and has been featured in various industry-leading summits and podcasts, including Capsho’s Grow My Podcast Summit, Buzzsprout’s Podcasting Q&A, Podcast Growth Hacks by PodInbox, NashvilleVoyager Magazine, and many more.

She is the founder of the Podfluencer Collective podcast network and offers various free resources, service-based offers, and digital products to guide her audience as they strategically develop their podcasts, cultivate meaningful communities around their brands, and build sustainable businesses through podcasting.

You can learn more about Griffith’s offerings at: https://beacons.ai/theactualangie

If you are an experienced podcaster searching for ways to increase visibility, downloads, and monetization, check out Podfluencer Society. And if you’re just starting out, planning your eventual podcast, then check out Podfluencer Society.

And if you’re not a podcaster but a podcast fan who wants to know the secret sauce to make a successful podcast, then check out Podfluencer Society.

Finally, Angie Griffith is clearly worthy of being called a Podfluencer, as are many other podcasters. I certainly am not, especially after three failed podcasts. So from now on, I will call myself a podcast wannabe or a “Podabe.”

#podcast #podcasting #marketing #womenempowerment

4 notes · View notes

lanottedellastrega · 5 months ago

Text

Man, I haven't done a transcript in a while...

Editor's Letter: GHOULS ON FILM

Tobias Forge has always been wildly ambitious. After throwing everything at Ghost in his last real shot as a professional musician, he established the band as an occult-rock force you couldn't look away from, all shady Nameless Ghouls and papal vestments. As the years rolled by, Tobias might have unmasked, but the Ghost legend has only grown. Back at their early gigs in 2010, few could have predicted they'd have their own actual movie in 2024. Like everything Ghost do, Rite Here Rite Now has been kept tightly under wraps, but Tobias was kind enough to grant our Paul Brannigan an audience, and reveal the behind-the-scenes machinations that led to such a triumph of creativity. And if you're reading this letter on June 20, the day the magazine goes on sale and the day the film premieres, you're probably about to experience his vision for yourself. "This is not a tale about death, but one of life…" intones the voicover on Rite Here Rite Now's spooktacular, schlock'n'roll trailer. While we can't say for certain if Papa IV will survive in his current form, we certainly hope Ghost are around to entertain us for a long time to come.

Stay metal, Eleanor Goodman, Editor

RITES. CAMERA. ACTION! From dancing ghouls to…dead Papas? Tobias forge takex us behind the scenes of Rite Here Rite Now, Ghost's new movie spectacular. Words: Paul Brannigan - Lives: Ryan Chang - Portraaits: Travis Shinn

[Accompanying photo: two-page spread of the Forum Ritual, taken during Con Clavi Con Dio, with Papa downstage center holding the thurible. Caption: "Everything Ghost do is BIG. We expect no less from the film"]

Last year, in case you didn't notice, those "hands that threaten doom" which Iron Maiden's Bruce Dickinson once sang about, inched 10 seconds closer to midnight. The Science and Security Board of the Bulletin of the Atomic Scientists, the people who created the Doomsday Clock back in 1947 to gauge how close humanity is to destroying the world, reset the minute hand for the 25th time since its creation, moving it closer to the hour than it has ever been. So the prospect of imminent global catastrophe is now ever more pronounced, which, to be honest, is something of a bummer.

"We are approaching the end of an era. So let's have a good time." It was with these equally doom-laden words that Papa Emeritus IV, Ghost's puckish frontman, welcomed the faithful to the Kia Forum in Los Angeles on September 11 last year, for the first of two 'rituals' bringing the Re-Imperatour USA 2023 tour to a close. For those in attendance, the weight of those words hung heavily in the air.

In February last year, news that a second night at the 17,500-capacity venue had been added to the end of the Swedish band's tour schedule, after the first show sold out, was delivered in Chapter 16 of the occult rock collective's web series. The episode, titled Tax Season, was accompanied by a message from "The Clergy" stating, "We wish to inform you that in this world, nothing is certain except death and taxes."

The clip itself featured none-too-subtle hints that Papa Emeritus IV may not be long for this world; at one point, while he's playing a retro racing video game, he's distracted by the sight of a glass coffin being wheeled past his door, and when his attention returns to his TV screen, the words 'Game Over!!!!!!' appear. In Ghost world, where every symbol is scrutinised to the nth degree by the faithful, this was interpreted as a warning that the writing was on the wall for this Papa in the City of Angels. And when it was revealed that the group's two-night stand at the Forum was to be filmed for a future film release, with all phones to be confiscated from patrons upon entry, we feared the worst.

Hammer duly dispatched Associate Editor Dave Everley to Los Angeles to bear witness to what promised to be the gravest chapter yet in Ghost's evolution. At the conclusion of the second night at the Forum, however, Papa IV - "channelling the ghosts of Freddie Mercury and vintage Willy Wonka", Dave noted - was still standing, indeed dancing…but there was a lingering suspicion that there was more to be revealed.

Then, on May 1 this year, came a new message: the announcement that Rite Here Rite Now, Ghost's debut feature film, chronicling the events in Los Angeles, would be screened in cinemas worldwide on June 20 and 22. And those studying the minutiae of the film poster observed that the letter "o" in the final word of the title had been substituted for an analogue clock, its hands positioned at - and you might be ahead of us here - two minutes to midnight. Well, well, well…

"The Doomsday Clock is not an actual clock - it's more of a measuring tool for us to understand how near we are to fucking things up. But it's not like a timer on a bomb, and that means that we can still change things around. And this film is a little bit about that, about turning around and changing your ways, even if it's just your attitude towards things."

The real world time is 6:30pm (BST) on May 9, and an email has just informed us that 'Mary Goore' has joined our Zoom call from Stockholm. Those familiar with Ghost's pre-history will be aware that this was Tobias Forge's stage name in both his death metal band Repugnant and his glam metal outfit Crashdiet, and though he chooses today to keep his camera off, the voice on the call is unmistakably that of Ghost's 43-year-old leader. The trailer for Rite Here Rite Now premiered exactly four and a half hours ago, and as far as Tobias can ascertain, it's been "well met" so far the only "concerns" he as noticed to date bein raised by fans worried that the film has not yet been booked into picture houses in their homelands.

"The film is being distributed in many countries, but not all," he explains, "so I understand that there were some voices that felt like we'd overlooked this or that country. It's like when you announce a tour, and immediately get 'Why aren't you coming to… [insert country name]?' That wasn't our decision, I can't tell you why, it's just that some countries didn't want the film, or whatever."

Officially, the first seeds for Rite Here Rite Now were planted in Tobias's mind "over a decade" ago.

"When Ghost got signed to Loma Vista, Tom Whalley [owner and CEO] asked what the story of the band was," he explained in the press release announcing the film. "He felt telling a story was vital in order to get new fans engaged. I said that because we were a new 'baby' band and, more importantly, we were an anonymous baby band, there wasn't really a compelling story to tell. Not yet anyway. But I told him that if he wanted a story, I could come up with one. This film is the fruit of that conversation."

Those who've follwed the band from their earliest days, however, will know that, from the outset, Ghost emerged accompanied by a sense of theatre. Back in 2012, when I spoke to Swedish journalist Richard Lagergren, formerly the guitarist in the band Portrait, and the first 'outsider' to be informed of the existence of Ghost, he used the words "very cinematic, very surreal and very intense" to describe his first encounter with the group. He revealed that he was at his home one Sunday afternoon in October 2010, when he received a phone call telling him that a local band wished to see him. Within an hour, a car pulled up outside his home, and he was blindfolded, driven into the countryside and led into a disused warehouse, where, once his blindfold was removed, he found himself face-to-face with Papa Emeritus and five Nameless Ghouls, and was informed that he had been selected to begin disseminating word of Ghost's Satanic ministry to the world. This was very much not how bands were expected to conduct their business in 2010, and it telegraphed, from day one, Tobias's (still present) desire to keep Ghost out of step with standard, traditional music industry conventions.

[Accompanying photo: Portrait of Papa IV taken in his costume from the start of the show - gold Huntsman jacket, black pirate shirt, black ascot with devil scarf ring, distressed black pants. He is staring at the camera, his arms crossed and his hands at shoulder height, making the sign of the horns. Caption: "What delights are up Tobias's ornate sleeves this time?"]

"From the start, we were cutting against the grain," he reflects. "If you think back to that time, it was the beginning of when the music industry demanded a sort of hyper-frantic online presence from bands, and every band was updating Facebook as soon as they did anything, sending out private messages, like, 'Hey, everyone, don't forget to buy tickets!' I said immediately to my label, 'I don't wanna do that, I fucking hate that shit, and I don't wanna be part of that…and we're a fucking anonymous band.'

"So it was an issue, and we had to steer around a lot of those things, while figuring out, 'How do we communicate with the world what we want to communicate?' We had to figure out ways to sort of cable out a story to the world, a story that we didn't really have at that time, or a story that I didn't want to tell. Because what was that story going to be? My story? No, fuck that. So I said 'I'm gonna come up with a story, and it might unfold in the form of short little online episodes.' And Tom Whalley was like 'OK, I'm intrigued. What do you want to do?'

"So we started doing these episodes about The Ministry, with our little commercial messages attached, and it turned out fun. But obviously it became very complicated: there's a reason why bands just turn on their phones and are like, 'We're coming to Brazil!' It's so much easier. Whereas everything that we've ever done has always been way more complicated. But lots of fun, too. And so, via those web episodes, the story has really taken shape. The idea of making a film has been in my head for years, and I've always been adamant about the web episodes not being too detailed, because you don't want to paint yourself into a corner, so there's been a lot of loose threads. But I figured that I could take these loose threads, tie them together in some sort of comprehensible form, and that could be the film. And that's why we're talking today, finally!"

If you think that today Tobias Forge is going to outline exactly what happens onscreen in Rite Here Rite Now, you really haven't been paying attention to how Ghost operate. For as much as Tobias loves theatre and showmanship, he also treasures and truly values the mystique around his band. And that has its roots in the way he himself discovered his favourite bands as a teenager. For as much as he loved Kiss, Black Sabbath, Iron Maiden, the Sex Pistols and Venom, the young Tobias Forge was equally immersed in an underground extreme metal community where anonymity was prized above adulation.

"A lot of the bands that I grew up listening to weren't very famous at all," he recalls. "Some of them didn't ever play live, some 'bands' were actually one guy in his bedroom, and you knew very little about anyone. And when these bands did communicate with the world, it was through fanzines, and very adolescent interviews where they gave outrageous, very provocative answers. That helped cement my magnetism towards maintaining mystique, and back in 2010, I definitely thought that there was a way where Ghost could achieve some sort of success whilst 100% maintaining a mystique. And over the years, I've learned that was hard…but then I never thought we'd be as successful as we are.

"The best way to be anonymous in a band is by not forming a band. Don't do it! It's counterintuitive to remain anonymous if you want to be in a big professional band, and it's counterintuitive to sign with a major label who want to break your band. I've always been under the impression that in order to become a representative of the night, you have to be supernatural, but now it's time to let the world in on the story so far, to some extent."

[Accompanying image: Papa IV on stage during Year Zero, microphone in his left hand, his right hand counting two. Caption: "Is Papa IV on borrowed time?"]

With Rite Here Rite Now, Tobias admits that he's in "virgin territory". But here's what we're allowed to know. The film takes place over the course of one evening, with a narrative centered around a gig in Los Angeles, but with flashbacks referencing storylines in the Ghost 'webisodes', which began on YouTube in March 2018. For metal fans, the concept of a feature film blending a live show with a dramatic narrative will likely call to mind Metallica's bold and largely incomprehensible 2013 film Through The Never, a commercial disaster for the band, with James Hetfield subsequently admitting that it "disappeared" and describing the entire experience as "bittersweet". Tobias insists that, actually, there are no overlaps in what he set out to do with Ghost's film - "that film was never a guiding light" are his exact words - and he cites two alternate films as much more instructive in terms of his ambitions.

"As we were pitching the film, the two films that I mentioned a lot in orer for people to try to comprehend artistically what I'm trying to do were [The Rolling Stones' 1983 concert film] Let's Spend The Night Together mixed with [The Sex Pistols' 1980 'mockumentary'] The Great Rock'n'Roll Swindle. There is a sense of an origin story, but it's very much a story that takes place during an evening. So you sort of step right into what is happening right there and right then, and maybe the main character's inability, or unwillingness, to be there.

"One issue, or one challenge, that we faced was making a film that was comprehensible to anyone who had no clue about what Ghost is," he continues. "We have a very, very passionate fanbase, who, to a large degree at least, are very aware of everything that goes on with Ghost. The easy part, conceptually, was to make a film that would please them, because they know the story already, they know the context that we are now extending with this film, because it's basically picking up where the last episodes ended. But we wanted it to be that someone who doesn't know shit about the story gets brought up to speed pretty quickly. But this is where my ability to be objective ends, because I'm wondering, 'Do people understand what I'm saying here? Do people get that?'

"Obviously, as with everyone else, I'm a Star Wars fan, and that worked pretty well in the sense where you just crash land right into the story. That works where the message of the film is quite simple, and I think that the message that we're trying to convey with this film is to be right here right now, and not anywhere else. That's what I'm hoping everyone will understand."

[Accompanying photo: Papa and the ghouls backstage before the show. Caption: "What role will the Ghouls play in Rite Here Rite Now?"]

This sounds quite straightforward on paper. But, as Tobias was to quickly learn, the film business is not straightforward, not when films cost 'x million' dollars to make, and someone has to stump up those 'x million' dollars to get it from scripts and storyboards to the screen. Making a film, Tobias says with a very audible sigh, is so much more complicated than making a record, not least because the trust that an artist accumulates working in the music business doesn't necessarily translate to being trusted with a multi-million dollar film budget.

"The film had to go through discussions with finance people who were as curious about the content as you are," he says, diplomatically. "And let's just say that I sometimes struggled to convey what we were just talking about, and not everyone understood it. I'd be saying, 'Look, this is not really, you know, just us live from the Forum.' And they were like, 'Well, could you scrap the live show and just do a film about something else?' And I'd say, 'Well, that kinda defeats the purpose of what I'm trying to sell to you.' So that was a little bit weird."

The end result of such conversations was that no financial backer came onboard for the film, and Ghost and their management ended up funding the whole process - which, he says, ultimately simplified things. But the uncertainty meant that acclaimed Swedish filmmaker Jonas Akerlund - famously once a member of Bathory, and a creative visionary who's made music videos for the likes of Madonna, The Prodigy, U2 and more, as well as directing films such as Lords of Chaos and Spun - decided to step away from potentially directing the film to instead take on a co-producer role, and to advise Tobias as a friend.

In his place, as director, came American filmmaker Alex Ross Perry. He first saw Ghost opening up for Iron Maiden in New York in July 2017, at the conclusion of Maiden's North American tour for The Book of Souls, and subsequently directed the band's own 'mockumentary' Metal Myths, as well as the fabulously provocative promo video for the band's cover of Genesis's 1992 single, Jesus He Knows Me.

"He was obviously the right choice," says Tobias, "and a no-brainer to come aboard, because not only is he a very, very nice guy, but he also totally understands the band.

"Jonas was very involved with all the legwork beforehand, but when he stepped down as the director, and became a producer, it actually made things a little bit easier, because he became less stressed about it; all of a sudden he became calm, and just became my friend instead, pushing everything along. At no point did I feel like I'd bitten off more than I could chew, but the whole thing was definitely a huge learning experience.

"A lot of film studios sometimes struggle to comprehend something that isn't mainstream," he adds. "Like, it's not uncommon that you might want to make a film about, say, a historical event, and they would be, like, 'Hmmm, it's really depressing that the boat sinks in the end. Can it not do that?' And you're like, 'Well, no, the story is about these two lovers that meet on the sinking boat, and yeah, he dies in the end.' 'But that's so depressing! Can we make a different ending?' 'Er, No.' 'Well, we don't want to pay for that.' That's the sort of shit you're up against."

For Tobias, Rite Here Rite Now is clearly the biggest project that he's ever taken on, but Ghost fans shouldn't worry that they're about to lose their hero to Hollywood. At one point today, he mentions his work on the next Ghost album, specifically saying that he's "synchronising" his work on the film with the new record, so we may get an announcement on that sooner rather than later.

There remains one last matter to discuss. In each chapter of Ghost's journey to date, there has been death and renewal, with a new Papa coming along at the end of each cycle to replace the outgoing bandleader. And yet Papa IV was not killed off in Los Angeles. So, Tobias, is he going to transition into the next cycle?

A drawn out "Errrrrrrr…" comes through the speakers before an answer arrives.

"He will be with us, yeah. For a lifetime, if you will. As everyone is."

Okaaaaaay. But will Papa V also be appearing soon?

"I hope so."

At this point, the band's PR steps in to advise that we have one last question. So we ask if Rite Here Rite Now is close to the vision Tobias had in his head when he first embarked upon this ambitious undertaking.

"It's never, you know, 100%," he answers, "but pretty damn close. A lot of things that I think scared people in meetings a year ago, are things that I know that we pulled off. As an artist, people want you to dream big, but I always try to come up with things that are actually doable.

"Everything with Ghost is difficult and expensive, but the records are getting closer to what I imagine, and this film turned out pretty close to what I envisioned. And when I see the film, even I look at the show and go, 'That's pretty entertaining, that's pretty cool.' This is a film that you have not seen before. And you can all tell me what you thought when you see me next, OK?"

SIDEBAR ARTICLE 1: "I'M IN AWE OF TOBIAS!" Rite Here Rite Now director Alex Ross Perry explains how he helped Ghost's mastermind realise his vision.

[Accompanying photo: Another portrait of Papa IV in the gold jacket. His left hand is on his hip, his right gestures across his body, as though he is pointing to the sidebar. Caption: "Tobias has one helluva vision. Getting execs to understand it ain't easy!"]

[Inset photo: Alex Ross Perry looking off-camera to the right, as though he is staring at the photo of Papa next to him.]

Pennsylvania-born filmmaker Alex Ross Perry has a CV that includes helming music videos for the likes of Kim Gordon, Pavement, Sleigh Bells and Bully; writing, producing and directing acclaimed grunge/punk movie Her Smell; and creating Ghost's brilliant 2022 mockumentary, Metal Myths. However, he explains, working with Tobias Forge on Rite Here Rite Now was an experience like no other.

How did you and Tobias first come into one another's orbit? "I first saw Ghost opening up for Iron Maiden in New York, at the Barclays Center, seven years ago, and then I went on YouTube and had a lot of fun diving into their music videos. I'd done work for [Ghost's US record label] Loma Vista, and so I said to them, 'Nothing I've done is in the world of this band, but I'm a big fan, so if you ever need anything in the world of Ghost, my hand is raised.' And a couple of months later, I was asked if I wanted to create an official/unofficial Ghost mockumentary, streamlining the narrative woven into the band's story, and that became Metal Myths, which launched on April Fool's Day 2022."

How was that received? "I know that Tobias really liked what we did with that, and thought it was an amazing testament to his work and creativity. So then I was asked to curate an event at the Whisky A Go Go in Los Angeles to celebrate Ghost's Grammy nomination [for Best Metal Performance, for Call Me Little Sunshine], and we had some fun working on the Mary On The Cross [sic] 1969 era. While I was out in LA, we did the Jesus He Knows Me music video too, and I was told, 'We're doing a movie,' so I said 'Well, if you need any help, I'm here.'"

What did you make of Tobias when you first spoke to him? "I was, and am, a huge admirer of everything that he's built, so I was in awe of his creativity and the scope of his vision, and I remain so having now collaborated with him on this movie. He's one of the greats, in terms of the vision he has. He's a nerd, a repository for information and references to music history and film history, and that is incredibly rare. His vision has taken him so far in 10 years, and in 10 years' time it'll have taken him even further. My favorite band is Kiss, and Tobias might say the same, but they stumbled when they tried to branch out with [1978 TV film] Kiss Meets The Phantom Of The Park, whereas Tobias built a visual narrative into the Ghost solar system from the beginning. Working with him was constantly inspiring."

What was the most challenging part of the whole process for you? "It was just logistically very complex. It was challenging being at the Forum, shooting scenes that we were going to connect with scenes that we would be filming five months later."

How much creative input did you get to have, and how much were you able to bring your own vision to what was already mapped out? "I consider it a real collaboration between the two of us. His vision for the storytelling is crystal clear, but even though the A to Z is mapped out, there's so much room to discuss what happens from B to Y. You could just talk all night about that, and we did many times, like, 'Does this happen?' 'Is this joke funny?' 'Should this scene have no dialogue?' I took ideas that were not possible and turned them into ideas that are possible. We sat on his tourbus one month before the Forum and just talked until 4 or 5am about every story beat, every scene, every moment between the characters. It was such an amazing experience from start to finish."

SIDEBAR ARTICLE 2: "I'D SIT WATCHING FILMS ALL NIGHT, THEN HAVE A HORRENDOUS NEXT DAY IN SCHOOL!" Five flicks that fired the imagination of teenage cinephile Tobias Forge

[Accompanying photo: A third portrait of Papa IV in the gold jacket, staring directly into the camera and throwing the horns with both hands. Caption: "What the Devil will Tobias do next?"]

By his own admission, Tobias Forge is a film nerd, who watched "everything, all the time."

"I've always been very interested in cinema," he says. "As a kid, I'd watch everything that my older brother and his friends were watching, and as soon as I was old enough, I had a TV and VCR in my bedroom. I spent so much time in front of the TV playing guitar and watching films - French drama, comedy, horror, action, all kinds of films. I'd sit watching films all night, then have a horrendous next day in school! Anyone who has a record collection and video collection similar to mine will recognize lots of little references in our film."

Here are five films that regularly got slotted into the video cassette recorder in Tobias's teenage bedroom.

THE FUNHOUSE (Tobe Hooper, 1981) Tacky, violent and unpleasantly scary slasher flick set in a traveling carnival, directed by Tobe Hooper, who had produced, co-written and directed 1974's The Texas Chain Saw Massacre. A commercial failure, but one with cult appeal for fans of 80s 'video nasties'.

SCARFACE (Brian De Palma, 1983) Endlessly quotable and unrelentingly violent crime drama depicting the rise and fall of drug lord Tony Montana, played by Al Pacino. One of the most iconic gangster films ever made, referenced on countless gangsta rap records. All together now: "Say hello to my little friend!"

C.H.U.D. (Douglas Cheek, 1984) Schlocky sci-fi horror about murderous humanoids roaming the sewers of New York City. Ghost pal Dave Grohl was also a fan of the movie. His teenage band, Mission Impossible, recorded a song called C.H.U.D. with a chorus that ran: 'Chaotic Hardcore Underage Delinquents! Cannibalistic Humanoid Underground Dwellers!'

BETTY BLUE (Jean-Jacques Beineix, 1986) Impossibly intense French 'erotic psychological drama' featuring lots of philosophical musing, lots of steamy sex, and an inevitable slide into madness. A cult classic, which shifted tens of thousands of film posters to art and film studies students worldwide, it made 21-year-old Beatrice Dalle an international sex symbol.

LES AMANTS DU PONT-NEUF (Leos Carax, 1991) Another intense, wordy French drama about a doomed, obsessive love affair, staring a young Juliette Binoche as homeless artist Michele besotted with alcohol-and-pills-addicted wannabe circus performer Alex (Denis Lavant). The film went insanely over-budget and took forever to shoot; by the end, real-life lovers Binoche and Carax had split.

Copped the Ghost Metal Hammer so thought I’d share the contents for anyone who may not be able to buy it for themselves (the article and Tobias interview is Rite Here Rite Now spoiler free!)

Let me know if any of the photos are bad quality and I’ll re-take them!

#the band ghost #tobias forge #metal hammer #rite here rite now #transcript added #goddamn this took ages

705 notes · View notes