#like the story just is timeless and versatile. i think it just does hold up to retellings. it's one of those stories

[britneyshakespeare]

you know i'm usually the last person to have strong opinions on movie casting announcements but the idea of jacob elordi playing heathcliff stirs a fiery sense of indignation in my heart

[bl4cklabyrinth]

GiGS October 2020 Cover Feature Translation Part I: Hiro [Vocal] Interview

Disclaimer: Please do not retranslate my work into other languages, as my translation may not be accurate. I am no Japanese or English native.

Photo from here.

Starting things off is a solo corner where I talk to each of them about their latest album “V”.

First up is Hiro, who has been leading MY FIRST STORY as its obligatory frontman.

Not only does he breathe life into their music with his unique, high-toned voice, but he also writes the lyrics to all of their songs. That being said, how did he go about creating this album?

- Hiro, you’ve been writing the lyrics to all of MY FIRST STORY’s songs. Is that something you decided on yourself, or was it something that just came about naturally?

Hiro: I guess I just kind of went with the flow. I’ve always thought that the lyrics should be written by the vocalist, and that the only things I could do in this band were to think of melodies and write lyrics. Because of this, I felt like I had to do what I could. None of the members wanted to write the lyrics either, so I ended up taking on the job. 

- I think one aspect of it is that the words coming from the singer himself are more easily conveyed. Having said that, what is important to you when writing lyrics?

Hiro: They aren’t exactly like the punchlines used in rap, but I try to include words that would catch the listeners’ attention and get stuck in their heads even if they were just doing a quick listen. To incorporate hooks, so to speak, in key parts of the song. It’s words like those that leave a strong impression.

- I think being catchy comes with leaving a strong impression. The lyrics you write also always match the taste and deepen the worldview of the song.

Hiro: I’ve never written lyrics before everything else. I listen to the track first, then I quickly jot down the image that comes to mind and the words I could possibly use in the song. I’m the type of person who decides on a theme before I start writing, so the lyrics I come up with naturally complement the music. I guess my songwriting process is kind of like writing an essay or a paper. I don’t just write whatever I want to say at the time; rather, I set a theme and work from there.

- Some people have trouble settling on an image and take some time choosing a theme. How about you, where do you stand?

Hiro: I probably fall among the quick decision makers, but that doesn’t mean I don’t reconsider my choices and change the theme during the writing process. I listen to the song, quickly decide on a theme, then immediately start on the lyrics. The thing is, it takes me quite a while to continue writing after that (laughs).

- I see (laughs). So is adding lyrics the last step in the production process?

Hiro: Yes. I only start writing after the backing track is completed and the melody is set. For example, when words come to me while thinking of a melody, I would sometimes include them in the lyrics if I like them enough, but I won’t start writing the whole thing until the melody is finalized.

- More than that, it’s impressive how your lyrics reveal your inner weaknesses, your pain, and your negative side.

Hiro: I don’t really mind showing that side of me; on the contrary, I have nothing else to write about. I’m also not very good at writing the inspirational, “Let’s do our best!” type of songs. Coming up with those kinds of lyrics frustrates me and tests my patience so I find them difficult to write. However, I was thinking of adding some of those lyrics in the album. Teru composed “Akashi”, and since it’s one of the more cheerful songs on the album, I thought it would be best to make its lyrics positive. So, I decided to give it a shot.

- With the line “Moving forward in the right direction will be my testimony”, “Akashi” is a song that gives the listener a push in the back. Another thing is that your lyrics have the perfect balance between English and Japanese.

Hiro: I guess you can say I find it easier to write lyrics in English. With English, I don’t have to worry too much about the appeal of the words, and there aren’t as many expressions to use either. With Japanese, for instance, the word “ai” (love) connotes all sorts of things such as “itoshi” (dear/beloved), “koishii” (missed/longed for), and “mederu” (to cherish/admire). With English, however, there’s only the word “love” (laughs). It’s straightforward on its own, and you can get your message across depending on how it’s translated. That’s why it’s easier for me to write in English.

- It just occurred to me that you seem to have the tendency to perceive words based on their rhythm.

Hiro: Ah, you’re right. That’s true.

- In that case, it must be easier to write in English.

Hiro: Yeah. English makes it easy to attach words to a melody in a way that sounds good. It’s nice to listen to a melody that’s in sync with the lyrics, right? Getting results like that is simple when you use English. I also think there are a lot of people under the impression that English sounds cooler. I want to make everything as catchy as possible though, even when writing in English, so I try not to use difficult words whenever I can.

- That’s part of the charm. Even so, you added more Japanese lyrics to “V”, didn’t you?

Hiro: That’s right, I did. We’re a Japanese band after all, so writing lyrics in Japanese is still the ideal.

- It’s an advantage to be able to use Japanese and English in a similar way. Speaking of which, when did you write the lyrics to the songs on “V”?

Hiro: It varies from song to song. I wrote the lyrics to “Underground” about a year ago when it was composed. The way this song was made was unusual. I started on the lyrics early because the demo was up sooner than expected and I didn’t want to have a hard time later on, but as it turned out, I didn’t make it in time… or something like that (laughs).

- I see (laughs). On that note, more and more artists are writing about their thoughts on the coronavirus pandemic, but there aren’t any songs like that on “V”, are there?

Hiro: There aren’t. Actually, some of the songs on “V” were made after the coronavirus started spreading. “Starting Over” was composed quite a while ago, but the lyrics were written around the time the pandemic broke out. Same goes for “Daimeiwaku”. Nonetheless, I never thought about writing a song on the coronavirus. I feel like the nuance of the lyrics would be a little too strong for the album. We wanted the whole album to be poppy and catchy, so adding a song about corona would only get in the way of that. I experienced and thought about a lot of things over the course of the pandemic just like everybody else, but I still don’t know what the right thing to do is, and I felt like it wasn’t my place to write about it given the current situation. It’s okay to talk about it during live MCs and stuff like that, but I didn’t want to etch it permanently on something as timeless as a song. That being said, I don’t think I’ll be writing about corona anytime soon. Even if I were to sing about it, it would probably be expressed in a very abstract manner.

- I understand. Every artist is entitled to their own opinion on the subject, so I think those who choose to sing about it and those who don’t are both doing the right thing. 

Hiro: I’m in no way trying to invalidate those who sing about corona. As you mentioned, it’s all a matter of perspective. I don’t like singing about topics that directly concern the world… like political discontent. It’s difficult to write about those kinds of themes; I’d rather write lyrics that express my thoughts on a variety of themes and hope that those who are listening can relate them to their own feelings and sentiments at the time.

- There certainly were songs that resonated with me when I listened to them as the pandemic went on, even though they were about something completely unrelated to it. Now that we’ve talked about the lyrics, I’d like to ask you about the songs. How was the recording process for this album?

Hiro: I was away from MY FIRST STORY for a while since quarantine started and I couldn’t hold shows or go to the studio. A long time had passed since I last recorded, so in a good way it felt like I was singing someone else’s songs. That was good for me, because it naturally set forth a new direction and brought out singing techniques in me that I had never used before. Still, I wondered what would happen if I made those kinds of songs with MY FIRST STORY, so I consulted with Nob and our engineer to see how it would turn out. I asked during the recording session, “How would it sound if I sing it like this?” Everyone thought it was unexpected but good when I tried it out, so we just decided to proceed in that direction. It’s this kind of approach that led to more versatile songs this time around. I’d like to believe they fit in with the current era where listeners look for all sorts of things in their music.

- The fact that you were able to present multiple facets in a single package proves that you produced something next-level. “Unexpected but good” is great, because the appeal of a song is more important than the direction it takes.

Hiro: I’m not so sure about that. Most of the songs on “V” were made by Nob, so they were kind of like “Nob’s vision + myself”. It wasn’t all me. I’m glad it all worked out in the end.

- You need a great deal of singing experience to be able to adopt that kind of approach, so I’m sure you sing a lot of different songs on a regular basis. Come to think of it, in the interview with your instrumentalists for the GiGS September 2020 issue, it was mentioned that you sing quite a few songs at karaoke after your live shows.

Hiro: I do (laughs). I find other people’s songs more fresh – or rather, more refreshing. Unlike MY FIRST STORY’s songs, I don’t get the chance to perform them very often so I can sing them pretty casually. I love it. That’s why I sing a ton of artists’ songs when I go to karaoke.

- About singing casually, you’re the type of person who likes to have fun while singing other artists’ songs and doesn’t always stick to his own style, right?

Hiro: Right. To put it another way, there’s a pattern to those who always choose to stick to their own style. I believe that each song has its own merits – ballads, for instance, have a certain charm to them. If you ignore that and sing every single song in the same way, those listening will eventually get bored. Of course, there are advantages to doing that as well, but there’s a part of me that wants to make the most out of things and try different forms of expression in my songs. That’s been in my mind for a while now, and I feel like I was able to expand my range even further with “V”.

- The variety of expressions and range of the songs are wider than ever and they’re really worth listening to.

Hiro: There’s this thing the members often tell me: “Whatever song it may be, it will be MY FIRST STORY as long as Hiro is the one singing”. Teru was the first person to tell me that. He said that around 2 to 3 years ago, and from then on, I stopped being so conscious of my own identity. That was the biggest thing that helped me expand my range.

- Truth be told, the entire album has a touch of Hiro’s personality, all the while showcasing its breadth. Now, if you had to pick a song from “V” that left a strong impression on you, what would it be?

Hiro: There’s really a ton of them this time. It’s like Nob had a theme for each song when we were working on “V”. There were songs that paid homage and some that had a subject matter. I didn’t really pay attention to it, but I was able to see that person’s point of view and the music he’s playing objectively, so I have a strong sense of trust in that. The songs on this album were all new and innovative, so as we got to the later songs, I got a little confused about how to sing them and that made recording pretty difficult. Nob and our engineer pulled it off really well, and I believe we ended up with great results. Among those songs, if I had to choose one that left a particularly strong impression… “Aikotoba” was probably the hardest one to make.

- Bringing something new to the table, “Aikotoba” is a song that has a guitar-rock lyricism to it that’s a bit different from the symphonic ballads you’ve done in the past.

Hiro: That’s true. This song needed to be sung with a nuance that hadn’t been there before. I listened to a lot of music under the so-called guitar-rock genre, and that was the best way for me to get rid of my own tendencies. At any rate, I had to be mindful of singing the song smoothly.

- There are many other notable songs as well. For example, I was strongly drawn to your voice in “moonlight” that seemed to transcend even gender.

Hiro: From the moment I heard the demo for “moonlight”, I knew I wanted to put it in the album. It had a lot in common with “mine” from the “Mukoku” single (2019.8.14) which I thought was a must-have in this album, so I had to make this song just as compelling. I enjoyed recording the song, and I had a great time writing the lyrics as well. I honestly thought that I would struggle with the lyrics, but everything went smoother than I expected, so I have to say that I had the most fun working on “moonlight”.

- We haven’t seen much of it in MY FIRST STORY’s discography so far, but it’s great that you’re able to enjoy songs like this now. 

Hiro: I was a bit surprised myself that I was able to make “moonlight” so easily. I’m glad that I discovered a lot of things I wasn’t aware of during the recording of this album, and I’m sure this will continue on for MY FIRST STORY in the future.

[itfeelssowrite]

2 Songs: Into the West by Annie Lennox or Abraham's Daughter by Arcade Fire; 2 Actors: Mads Mikkelsen or Hugh Dancy; 2 Actresses: Emily Browning or Emma Watson; 2 Movies: Logan or Deadpool; 2 Books: Harry Potter and the Prisoner of Azkaban or Harry Potter and the Goblet of Fire; 2 Characters: Stella Gibson or Jessica Jones; 2 Ships: Willara or Naomily; 2 Shows: The Golden Girls or I Love Lucy; 2 Anything--Names: Evelyn or Sebastian (gender aside)

2 Songs: Into the West by Annie Lennox or Abraham's Daughter by Arcade FireInto The West. I decided to listen to both songs to give you my freshest opinion. I've started with Into The West. It's only been playing a minute in a half. The second it got to the chorus, instant tears. I mean . . . do I even listen to Abraham's Daughter now?

Update: I did because fairness.It's still Into The West, though I -love- Abraham's Daughter, and it comes down to the fact that while I can separate Abraham's Daughter from The Hunger Games, I -cannot- separate Into The West from The Lord of the Rings. The Lord of the Rings can't end until Into The West has played. It's my permission to rest in The Shire with Sam, and to sail away from it all with Frodo. It's a promise that if I look ahead, I'll always see the thing worth fighting for in front of me. You only need not turn away from it.Also. OH GOD, BILLY BOYD'S VERSION. ::sobs::2 Actors: Mads Mikkelsen or Hugh DancyBy such a small margin you could call it prosciutto, Hugh Dancy. Will Graham is a remarkably unique character who we get to see play vulnerable passive reactionary to calculated active choice within the span of the series. Hannibal, while bewitchingly superb, sets the tempo and acts as the catalytic force for most of the series, even captured maintaining control. I am grounding my opinion based on both actors' work in Hannibal alone, because I don't consider any of their other roles nearly as demanding of their talents as these two. 

2 Actresses: Emily Browning or Emma WatsonEmma Watson by more than a nose, though I love Emily Browning dearly. If we're viewing both of them just as actresses, Emma is far more versatile and I would say less selective, giving her more opportunities. I suppose you could debate this now that Browning has made the smart choice of joining Bryan Fuller's menagerie of fantastic actors, but it's not a coincidence she's playing Laura Moon. She -is- Laura Moon. She holds an iron clamp on her niche.

Both have such lovely singing voices, though! And both are avid feminists. So. I mean, you really can't go wrong.

2 Movies: Logan or DeadpoolNow if you ask me which movie I'd want to see more often, it's Deadpool. If you're asking me my personal favorite of the two? Logan. Everything about Logan just works for me. It was a bold and unapologetic story and I think the absolute most appropriate ending for Hugh Jackman's Logan and Patrick Stewart's Charles. Deadpool is equally as daring, but ultimately loses out to the magnitude of two decades'-long characters coming to an end.

2 Books: Harry Potter and the Prisoner of Azkaban or Harry Potter and the Goblet of FireI can't give as vivid or probably as accurate an answer on this one considering I haven't read the books in AGES (which . . . y'know, I might have to change after Pet Semetary), but I do know I loved both of these books very much. Prisoner of Azkaban for the focus on Hermione after the Hermione drought in Chamber of Secrets. GoF because of the excitement of the tri-wizard tournament, the Quidditch Cup opening everything up and seeing the trio really work together (and squabble) as a trio, rather than the Harry-Ron, Harry-Hermione dynamic of the last two books. I also liked GoF as a young 'un because that's when Ron and Hermione really started getting under each other's skin, which when you're young they teach you it's because you're in lo-ooove. J.K. Rowling agreed and now it's canon and 15 year-old me would be appalled to learn that 26 year-old me has since abandoned that ship.

I'm going to say Goblet of Fire, but I am curious to discover what it'll be after my rereads!

2 Characters: Stella Gibson or Jessica JonesAnother hard one to answer as I feel I desperately need a rewatch of The Fall. Stella Gibson is already a more complex character. There are subtleties that Gillian plays that I would need to revisit.With that said, there's something of note in the fact that I can remember Jessica Jones so -vividly-. It's such a tight, intimate narrative following a character I am absolutely in love with.Asking myself who I want to see more of, Stella Gibson wins out. I also recognize that Stella Gibson is human in a dreadfully human world. That reality and her ability (and inability) to function in it edges out the distinctly comic book tones that Jessica Jones has to operate in, where her adoptive sister is an ass-kicking post-child star and said sister's boyfriend is a super soldier on rage 'roids. Frames it up a bit differently, y'know?

2 Ships: Willara or Naomily. . . ::ponders:: . . . ::opens mouth, thinks better; closes it:: . . . ::tilts head:: . . .How?How do you choose? My god. Willara is four seasons of a tragic soulmate story, leading to what I still consider to remain one of the most well-executed story arcs in Dark Willow. And then the redemtion achieved by the end of the series, and Tara persisting into the comics. Willara was -the first- romantic kiss between women on television and one of the first mainstream same sex couples on public television. Then there's Naomily. Two seasons and a movie (or not if you're a baby and can't accept canon). The instant-catch fuse of teenage first love, slow burning to combustion and reborn from the ashes. The tighter story, by far, by the very nature of the show as the character piece between the two works.Oddly, I knew of both couples before you, having caught Buffy on television and, because I was gay when Skins was airing, seeing Naomily everywhere. But I had the pleasure of -really- watching both beside you and seeing both couples through your eyes while also forming and sharing my own opinions. And I've written fanfiction for both verses. Fuck, guess they tie on sentimentality.. . . In this moment, asking myself which couple I want to revisit more, it's Naomily. And I realize that may be because I've seen Buffy more and more recently, but . . . I didn't write 2:23 A.M. about Willara. I miss Naomily in an entirely different way. As a writer, I miss them . . . 2 Shows: The Golden Girls or I Love Lucy::in Chandler Bing's voice:: W-Why, why why. Why? Are you kidding me? Only two of the best comedic shows on television! Both titans in their time. Both trailblazers. Both progressive and daring. I've laughed equally at both, again and again and again. They're equally timeless!I think while The Golden Girls was able to cover more controversial topics and more thoroughly, when it comes to being entertained, it's easier to land on a hoot of Lucy episode nine times out of ten. I think Golden Girls has just a few more episodes you'd be inclined to skip past. Gods, and no one does physical comedy like Lucille Ball. Melissa McCarthy and Beth Behrs come close, though!2 Anything--Names: Evelyn or Sebastian (gender aside)Evelyn

Oh dear lord, that was about an hour and a half’s worth of time! I hope it was worth it! Thanks, love!

[ulyssessklein]

Steve Cropper – On the Road with Dave Mason with the Rock and Soul Review Tour 2018

By: Rick Landers 

Steve Cropper – Photo credit Dawn Studios

It’s uncanny how someone with the legendary musical chops, legacy of songwriting masterpieces and world-class reputation can fly below the radar of popular culture.

Steve Cropper has moved in the world of music with with such popular icons as Elvis Presley Otis Redding, Sam and Dave, Johnny Cash, Booker T. Jones, Dave Mason, Little Richard, and hundreds of other well-known musicians, yet he’s mostly known within music celebrated circles.

Cropper is one among them and a highly respected equal in the pantheon of musical inventiveness and hip, hepcat coolness, but he appears to be quite comfortable without the whirl of celebrity that can wrestle one away from the freedom of a private life.

When a teen in high school, Steve and his friends formed a band called The Mar-Keys, a group that had an instrumental, “Last Night” that charted at #3 on Billboard. He and his childhood best friend, Duck Dunn, would also later find themselves trading or conjoining guitar licks, with Booker T. and the MGs, a milestone group that gave us a groove jazz raunch called “Green Onions”. The song has a magnetic groove and an occasional cat-like turgid growl of a riff from Cropper’s Telecaster. Today, over fifty years later, the dual bass lines of Dunn and Cropper remain cool and timeless.

Steve would hang with Otis Redding and co-write “Sitting on the Dock of a Bay”, work with Wilson Pickett as a co-writer of “In the Midnight Hour”, Sam and Dave’s “Soul Man” has the ink marks of Cropper embedded in it and as a Stax session player his Telecaster can be heard on scores of releases.

And later as a member of The Blues Brothers with John Belushi and Dan Ackroyd, Cropper and Duck would rub shoulders with such luminaries as, Aretha Franklin, John Candy, Ray Charles, Cab Calloway, Carrie Fisher, James Brown, Twiggy, John Lee Hooker and other musician-actors.

There’s more, there’s much more, but we can only hope for an autobiography of the man Mojo magazine ranked as the best guitar player in the world.

Today, we find Steve Cropper out on the road with another guitar master and singer-songwriter, Dave Mason (Traffic), who has his own fascinating story to tell. Their Rock and Soul Revue launches this week. We can expect to hear many of the hit songs that they’ve appeared on, like “Green Onions”, “Dear Mr. Fantasy”, “All Along the Watchtower”, “We Just Disagree”, or at least we can hope that they’ve included songs that will pull back the curtain of time for many of us and introduce the best of classic rock and soul to a new generation of fans.

Steve Cropper and Dave Mason Rock & Soul Review Tour 2018

TICKETS ON SALE HERE

******

Rick Landers: I was hunting around while researching for our interview for an autobiography of you, but it looks like you haven’t written one. Is there a book out on your life, that’d be pretty cool to read? 

Steve Cropper: No, people they’ve been asking me that for 25 years I don’t know if I do or not, I’ve thought about it several times and about taking off a month or two and write a book.

I know, I should have been writing and done it a long time ago, all the time.

I’d like to take the project and do it. That’s how I am. Like great painters who paint one painting an hour here and on this painting an hour, move it around and never get bored.

I don’t think of it that way, I’d rather start from scratch and wind up with an end result. I can kick my own butt, because people ask me all the time, “Is there a book?” “When you gonna write a book?”.

Rick: A friend of mine, bassist Mark Gougeon, played with Mitch Ryder and the Detroit Wheels, recently told me he loved Duck Dunn’s bass playing and recalled playing “Liberty” while on tour with Mitch. Do you remember the song?

Steve Cropper: Liberty! Absolutely. Those guys are great.

Rick: I recall seeing you guys at Detroit’s Cobo Hall with Wilbert Harrison and Creedence Clearwater Revival and you guys got a standing ovation from that huge crowd, and blew everyone away. You guys were great, so I just want to say a belated thank you!

Steve: Absolutely!

I wanted to do some more, and his people made him (Booker T. Jones) a big offer, but he went off to do something else.

Steve Cropper: I was in a band that use to play in garages, In high school we were already playing jobs in our senior proms in our junior year. We were pretty good, I like to think we were, because we also played all the hits of the time. So, the schools in Memphis would hire us because we’d play all those song. They couldn’t afford those bands they were listening to, The Royales and Hank Ballard and the Midnighters. They could afford us and we was just glad to play.

Rick: Early on you and your high school band, the Mar-Keys had a hit “Last Night”, that was a number one hit, wasn’t it?

Steve Cropper: It was number three. I couldn’t figure it out. I don’t know, forty odd some years to figure out why it was a hit. I recall the first time I played it in the living room on the console record player, my mom started doing the twist!

I’d have to say it was probably one of the first twist instrumentals. Because Hank Ballard and the Midnighters did it, Chubby Checker on American Bandstand did it. I never thought of “The Twist” when we did ”Last Night”. Pat Boone covered it. (Steve sings the two notes) It’s that simple, two notes.

Rick: I understand that some people don’t think you were on that record. Want to set the record straight here?

Steve Cropper: Ah, history books say Steve Cropper wasn’t even ever in the Mark-Keys, because there’s no guitar on the record. Aha, but I was on the session, on the record. If you listen to the record you can you can hear a hold down on the organ. One C note I think, I’m holding it down.

So Smoochy, being Jerry Lee “Smoochy” Smith could play, Smoochy who wrote the lick (Steve sings the lick) That was his lick. We knew it was a hit lick. He wanted to play it. And, they wanted to play a piano solo. So, I held that note down for him when he played.

Rick: So, you were in The Mark-Keys and you’re definitely on that record and we’ve got that done.

Steve Cropper: Playing together in band together in high school.

Rick: Were you surprised to hear Screaming Jay Hawkins sing “Bite It”?

Steve Cropper: I was more surprised when Little Richard, he took “Green Onions in ’62. It just had Penniman as the writer. He probably didn’t know who the writers were.

They turned it around real easy. I mean, Little Richard turned out to be a friend of mine and I never mentioned it to him. I know he didn’t do it on purpose. But, he took “Green Onions” and wrote some kind of verse to it.

Rick: Let’s talk a little about guitar. When you were first drawn to guitar I recall that a lot of bands, their lead instrument wasn’t guitar, it was saxophone. So, what drew you to the guitar?

Steve Cropper: Ah, that’s a good question. I think because some of my buddies in school played guitar.

You reminded me of Joey Dee and the Starlighters and “The Peppermint Twist” and their saxophone player use to hang from the ceiling in this club they played in Philly or wherever it was. He’d play that solo upside down. [Laughs].

But, I don’t know we’re influenced by Chuck Berry, people like that, and influenced by Lowman Pauling from the Five Royales, because Duck and I went out and saw them one night. We played this little club downstairs and the guy who owned ite said, “Nobody will come see you guys.” So we had the night off. So, Duck and I got tickets and it was the Beverly Ballroom and we got to see Lowman Pauling play live and it just blew us away.

I went home and he use to hang his guitar way down by his knees. Well, Chuck Berry did that too, but Chuck would take a regular strap and hang the guitar down there. So, I get home that night and I’m rouncing through my closet and my Mom gets up and asks, “Steve what ya doing?” and I say, “I’m trying to find some old belts.” And I did that. I finally found them, put them together and had a long strap.

Rick: Do you still have it?

Steve Cropper: Ah, no wish I did. Wish I had the guitar too. I’ve got pictures of it.

Rick: What kind of guitar?

Steve Cropper: A Byrdland at that tine.

Rick: What got you into Teles? 

Steve Cropper: Well, I started doing sessions and I found out that the Tele worked a lot better, it was more versatile for sessions than a Gibson was. Nothing to do with Gibson.

If you hit chords on a Gibson, it’s gonna distort slightly and with the Telecaster, it didn’t. Now, I never picked up on the Strat, because that’s more a player’s guitar. And that’s what Dave Mason does, most of his guitars are built on the Strat.

I’m a Tele guy, always been one. Even though the one I play now wasn’t made by Fender. I have several. Nothing against Fender, not at all, there’s nothing political there or anything, nothing against those guys. I love those guys and they love me. And I know Henry Juszkiewicz. He lives down the road and I can walk to his house.

And it was all about endorsing. I’m just one of those guys. I don’t endorse things. You know, I go down and buy my own strings.

I did endorse a guitar for a long time, with Peavey. And the reason I did it was Harley Peavy said he’d make me a guitar for under a thousand dollars. I said that’s what I’ve gotta have. It’s called a Cropper Classic, made for about six or seven years – it’s a good guitar.

Dexterity-wise they’re not fast. They’re a very tight guitar if you play it properly. And a lot of the rock guys did the Les Paul and the other ones did the Strats, because it’s a faster instrument. You can play more notes faster. The Tele is real tight, but it’s great for chords and rhythm lines and that kind of stuff. And you can play a lot of notes.

Especially in the Stax days, and before the Stax time, I use to double the bass lines a lot. There was a lot of them like that. Even on “Last Night”, on “Green Onions” I basically doubled the bass on it, it’s basically a Fender bass (Duck Dunn) and an Esquire (Steve Cropper).

The one I used on “Dock of the Bay”, the single stuff, is in the Smithsonian now. I gave it to them,. The other one, I think they got on display already. The other one is the frog inlay guitar. And it’s a the blonde neck Telecaster I used on Rod Stewart’s Atlantic Crossing album. On “Tonight’s the Night” and on all of those songs, I used it on the whole album and I think he had four or five hits on that one.

Rick: I was watching a video of you guys and back in the day a lot of bass players used big thick picks, but Dunn is playing finger style. I was a bit surprised to see that.

Steve Cropper: With Duck what people don’t know was his sound is like he’s playing with pick, but he had real, real stiff fingernails and he’d play the upstroke and would pop it. He’d start with a finger and he’d pop off and the last thing you’d hear was his fingernail hitting the string and it sounded like he was playing with a pick.

He came up with some pretty great bass lines. He was good when he played with other people he played with too. Duck was something. He knew a lot about music. He didn’t know whole hell of a lot about bass [Laughs] But, he could play these lines!

He played so solid and create these lines and and when he played with a good drummer he was dead on. You put him on his own and he’d go  “Where do I go?”. I asked him in to do some handclaps one time. I realized, I won’t do that again!

I needed some handclaps, so Duck was out there in the hall and I said “Hey man, come in hear and do some hand claps.” Oops! [Laughs]

Rick: I was listening to Nudge it Up A Notch with Felix Cavaliere. And on “To Make it Right” You got a really cool groove going and in the first couple of bars I heard this Curtis Mayfield thing.

Steve Cropper – Photo credit: Dawn Studios

Steve Cropper: There ya go, yeah. I loved Curtis. He was great. Booker knew more about what Curtis was actually doing. I would stand down stage and watch him play and still couldn’t figure out everything he was doing. And one of the neat things was we got to do a tribute one time for the Grammies and they did a tribute after he passed away

Rick: Les Paul had a tribute for his 95th birthday at Carnegie Hall, were you there?

Steve Cropper: Naw, unfortunately. We did a thing here at the Ryman, And they had bunch of musicians come in and play, and his own band was there. I did go down and play on that.

Rick: Can you tell us about your own studio?

Steve Cropper: The thing about the studio, the old one it’s not there, [Laughs] they finally ran me out of a town or made me an offer I couldn’t refuse. And I said,”Okay”, We moved to a 22-story high rise, however, we are now in the RCA building the one RCA built for Elvis Presley in ‘64. And we took over the little room in the back, called Studio C and I think Dave Cobb has Studio A, and B is a museum and has been for a long time.

First session I ever did in Nashville, and I was still in high school or just out. I drove up here and played a little session, another session in that Studio B. I don’t even remember what the song was, I remember the time doing it and all that, but don’t remember the who the artist was.

Rick: Did you ever go swimming in Webb Pierce’s guitar shaped swimming pool about a block away?

Steve Cropper: No, I know where that is, at the motel up there? I can walk to it from RCA real easy. There’s a room Billy Burnette stayed in and they told him that Elvis stayed in that room one time.

Rick: How long have you known Dave Mason?

Steve Cropper: Forever. But, I’ve been Europe working and he’s here. so there you go.

He told me the other day that he was at the concert I did in ’67 at Hammersmith Odeon. He was there with a bunch of guys. I don’t know how old he was, he’s younger than me, a little bit. I was 26 then, Elvis and I were both 26 then.

Rick: Let’s talk about your Rock and Soul Revue tour with Dave?

Steve Cropper: I think my pr guy Dennis Bootright, I didn’t tell him I wasn’t going back to Europe, he might have taken it that way. We had a new album out with the Blues Brothers band and we put it out around October, November and it ran about four months, usually albums today now run about four days.

This one kept going because colleges kept picking it and playing it,

And, I said maybe this is the one they’re looking for. Well, it’s kind of run its course now, I guess. I don’t know if you’ve seen it, it’s called, The Last Shade of Blue Before Black. It did real good. We were all surprised it did as good as it did.

And I had mentioned on a gig last year, and told the guys I know we need some work in the States, but we don’t want to stop playing Europe. And they only way to do that is to get a new album and the guys jumped on it. We had more songs than we could possibly record for three albums. So, we recorded it they mixed it and it turned out real good,

Rick: On the tour with Dave Mason are you going to be recording for a DVD?

Steve Cropper: We will and we already did one, up in North Carolina, recorded a show which someone will edit and turn it into a DVD that fans can buy as merchandise, if they want. And it will be basically the same show, I don’t think we’ll change it that much.

After we finish we said, “Well, that was fun!” And there was nothing about changing things. There was no comments on the ride home about changing things, or doing this first or doing this last, or changing the arrangements. Just keep the show going.

I don’t know if we’ll do it for some show. There’s some songs we took out that Dave might want to put back in, which is okay. We’ll just do that, do that and with the band, and some days we do have to rehearse again before we open.

We open up in Kansas City I think on the Fifth (July), and Dave wants to rehearse again on the Fourth. My wife says, “The Fourth!?” I think I’ve actually only stayed at home only three or four times in some thirty odd years. We’re usually in Europe and they don’t celebrate it, of course! [Laughs]

So, we just stick around the hotel and find something on tv, sometimes bicycle racing. They show a lot of that over there. And the Grand Prix, they cover that a lot. We watch either bicycling or cricket, and sometimes tennis.

Rick: Did you ever play the Grande Ballroom in Detroit?

Steve Cropper: I don’t think we ever played we did that, we went to a few shows with the Mar-Keys, I went back to recording, then we went out with Booker T and we went out to rock festivals,

Rick: I think of “Green Onions” in terms of Dave Brubeck’s “Take Five”, Santo’s and Johnny’s “Sleepwalk”. It was very cool and slinky song, a real classic. I’ve gotta say that I’ve much preferred it when it’s played at a slower tempo.

Steve Cropper: I think when we played it too fast, Duck and I would look at each other, but then where’s the fire? So, we just had a rule, if it starts fast, you keep it fast, you don’t slow things down back to where it’s suppose to be. You just keep it up there. That’s all you can do. If you play it too slow, it’ll stay that way. We were sticklers on that. The groove was what counted.

Rick: Do you play acoustic much?

Steve Cropper: I don’t. I did a little but, now days it really hurts my dexterity. I can’t play one. All those country guys, they know how to string it with looser strings.

I don’t play with a capo either. So, it’s a stretch for me.

About the Royales, on my album I’d written that all of the songs were written before 1958. But, I did some research later and found out they were all written prior to 1953. Lowman wrote most of those songs in the ‘40s.

So, what happened, I grew up on those songs and what had happened was King Records bought them and bought the masters and re-released them.

Rick: They were on Appolo before that, right?

Steve Cropper: Something like that, a lot of those guys came out of spiritual groups. Church groups. Lowman probably did too, probably came out of church. But after that hit run, the Royales went back to the church.

Rick: To wrap this up, let me ask you one more question. How’s your golf game compared to your wife’s? And be honest!

Steve Cropper: [Laughs] Well, my wife is on the golf course course right now and my daughter’s a sub-scratch golfer.

I am and have played all my life. And I thought, you know I married this girl and she’s a scratch golfer which is great, her Dad’s a scratch golfer, which is great and I thought maybe some of that knowledge will rub off. It didn’t. [Laughs]

I walk with them and their caddies and I know the world they live in, they’d rather be a guitar player than hitting a golf ball. I don’t know what it is. It’s funny. Most of those golfers are frustrated musicians and most musicians are frustrated golfers.

Rick: I’d like to mention a few names and get some quick responses from you. Let’s start with Otis Redding.

Steve Cropper: Well, my definitive thing is he was the most non- prejudiced human being I’ve ever came in contact with. I mean that sincerely. You really gotta understand the word prejudice and how they talk about other people, and Otis was just the opposite. One of the nicest guys you’d ever want to meet. And then Allen (Allen Jackson) said one time, “You know Otis had a million dollar smile”. What he meant by that, he said that if you saw him and you was a hundred yards away, he was already smiling at you and by the time you got up to him you were his new best friend. That’s how Otis was. A good guy, best I’ve ever met.

Rick: Duck Dunn.

Steve Cropper: Well what do you say about a guy you were with from the sixth grade on? He was your best friend. It would take books to describe it. Real great.

He’s the “go to” guy, and you know if you wanted something, if you wanted somebody to talk to, you get on the phone and talk to him. We were pretty close.

Rick: So, you found your values were right on with his.

Steve Cropper: Very much. We agreed on everything. Music and everything.

Rick: John Belushi.

Steve Cropper: Well, he had a heart of gold, a very talented guy and he also had a big appreciation for music. I don’t think a lot of people knew that he was a drummer and a singer and he was good at both, and an actor, all those things, Never refused an autograph, that’s one thing about his stardom. He never sent anybody away never, never said he didn’t have time. Takes a big heart.

Rick: Jeff Beck:

Steve Cropper: The most talented musician I think I’ve ever worked with. .

Rick: A lot of people put him up at number one or two, with Hendrix.

Steve Cropper: As a guitar player, that’s hard to say. [Chuckles]

Rick: Of course, well that would be Steve Cropper right?

Steve Cropper: [Laughs].

Incredible guitar player. From the time I produced him, what I observed was that he got better with age

But, I get asked all the time in interviews if we’re talking about guitar stuff, I get asked who’s your favorite guitar player and I say, Jose’ Feliciano. And they go: “Well he plays acoustic player, guts stings.”

And I say, “Yeah, but you’ve never heard him play, and I did.”

Rick: A monster guitar player.

Stever Cropper: He’s a MONSTER, big word, all in capitals. You got it. There’s no one better than Jose’. But, he didn’t make it as a guitar player, he made it as a singer. And playing his flamenco style guitar.

Rick: Mitch Ryder.

Steve Cropper: What do I say about Mitch? Very famous guy, a lot of hit records, a lot of talent. We became really, really good friends when he came down to Stax, down in Memphis and I think I told you I ran into him many, many years later and it was like nothing had happened and it was like “Wow!, here ya are!” [Laughs]

Rick: Jerry Wexler.

Steve Cropper: Well, he’s probably one of the most knowledgeable guys and he really did devote his time and appreciation to great musicians.

And to give you an example of that; He called me one night and I was still living in Memphis and this was many years ago and he said, “Steve I recorded a guy last night, and I promise you he played every lick you ever thought of playing. [Pauses]

It was Mark Knopfler and it was after “Sultans of Swing”!

And I never get tired of listening to it. I don’t listen to it often, but when I hear it on the radio I go, “Wow!”. He is so good and didn’t they get inducted this year, didn’t they?

Rick: I’m not sure, but I was going to say he doesn’t use a pick.

Steve Cropper: Yeah, You know, I slow myself down, but I do both. I play a lot of things with a pick, I have to play those chords with a pick to get those shanks, you know we call “shanks” those real sharp, like on “Green Onions” and all that. And I learned to, instead putting it in my teeth, I learned to cradle it and then play with my fingers. But, then it kind of slows me down, but I’m still playing with my fingers a lot. Call myself a fingerpicker, Knopfler can play it all. Knopfler can play everything! I love the way he [Mark Knopfler] went with his music, I really enjoyed that. And I got to play with who he played drums with, Terry Williams, and went and played a show with Dave Edmunds.

Rick: Getting back to Jerry Wexler, do you know what he wanted on his tombstone?

Steve Cropper: Nope.

Rick: More bass! [Both laugh]

Steve Cropper: More cowbell!

Steve Cropper and Dave Mason Rock & Soul Review Tour 2018

TICKETS ON SALE HERE

[barbarairene1]

What’s your logo design really saying about you?

The answer? More than you might realize.

Whether you manage a brand, represent a non-profit, are planning a startup or already own a business, your logo is one of the most valuable assets you have. An effective logo instantly connects your audience to your brand, serving as a visual shorthand for who you are and what you represent. Which is why it’s more important than ever to make sure your logo sends the right message and is a positive, accurate reflection of your brand promise.

To determine if your logo is assisting or impeding your mission and message, ask yourself the following six questions.

1. Is my logo sending the right message?

Let’s say, for example, you’ve identified your target audience as married males over 40 who are passionate about the outdoors and live in central Canada. Visual cues incorporated in your logo treatment—including font selection, color palette, shape, subject matter and more—can either attract that audience or repel it. Prospects should feel as if the logo is appealing directly to them. It should also be an accurate reflection of your brand and what you stand for. If those two aren’t both true, there is a disconnect and you might need to reconsider your positioning, your audience or your logo.

2. Will my logo “hold up” over time?

Unless you’re Coca-Cola and have a century of company history under your belt, your logo shouldn’t evoke the era in which it was designed. Today’s oh-so-hot design trend might work just fine for your current ad campaign, which is meant to run for a year, or even a quarter. But your logo must transcend the trend and not tie you to a particular time period. That cool style you loved in 2002 might scream “retro” to today’s consumer. A better, more versatile logo appears timeless and stands the test for multiple decades. It also saves you money by not periodically requiring costly updates of websites, printed materials, signage, apparel, etc.

3. Does my logo blend in, or stand out?

Unless you have an enormous advertising budget (hello, GEICO®) and can continually put your brand in front of millions of consumers every day, your logo needs to be distinctive, if you want your audience to recognize and remember it. An unusual shape, a custom font or a memorable combination of colors can help save you from the sea of sameness.

4. Is my logo unique to me?

Imitation may be the sincerest form of flattery, but it can be a death sentence for your image. If your logo reminds people of another brand—especially a direct competitor—it may be more of a liability than an asset. Worse, you could be helping to build their business, not just your own. Conduct a visual audit of logos in your industry, to ensure you are distinctly positioned against the rest of the field. And don’t limit the study to your current market. Think bigger.

5. Is my logo trying too hard?

It’s true that your logo should encapsulate the essence of your business and its promise. But that doesn’t mean it needs to tell the whole story. It can’t, and it shouldn’t. Marketing offers myriad ways to communicate your story and develop your brand position. That’s not the logo’s job. Rather, when your logo consistently appears in conjunction with your brand messaging and imagery, over time it will take on that meaning—even when appearing alone. Which is how even the simplest of logos can eventually mean so much to their audience.

6. Am I hurting my logo?

One of the most common mistakes in branding is inconsistent logo usage. It will take much longer for your logo to build brand equity if it looks different from one application or venue to the next. What may seem like a harmless “tweak” to make your logo look better on, say, a pen, a sweater or a banner, can cause real and measurable damage to your brand. Inconsistent treatment of your logo not only makes it harder for your audience to recognize the company it represents, it actually makes you look unprofessional and substandard. So, avoid or eliminate superfluous alternate treatments of your logo, and whenever possible, use the standard version.

If you have concerns about your logo and what it is saying about you, our team would be happy to help you optimize your current logo or design a whole new brand identity. Just contact VistaComm today for a free consultation!

 Read Full Article Here: What’s your logo design really saying about you?

What’s your logo design really saying about you? published first on http://vistacomm.blogspot.com/

[vistacomm]

What’s your logo design really saying about you?

The answer? More than you might realize.

Whether you manage a brand, represent a non-profit, are planning a startup or already own a business, your logo is one of the most valuable assets you have. An effective logo instantly connects your audience to your brand, serving as a visual shorthand for who you are and what you represent. Which is why it’s more important than ever to make sure your logo sends the right message and is a positive, accurate reflection of your brand promise.

To determine if your logo is assisting or impeding your mission and message, ask yourself the following six questions.

1. Is my logo sending the right message?

Let’s say, for example, you’ve identified your target audience as married males over 40 who are passionate about the outdoors and live in central Canada. Visual cues incorporated in your logo treatment—including font selection, color palette, shape, subject matter and more—can either attract that audience or repel it. Prospects should feel as if the logo is appealing directly to them. It should also be an accurate reflection of your brand and what you stand for. If those two aren’t both true, there is a disconnect and you might need to reconsider your positioning, your audience or your logo.

2. Will my logo “hold up” over time?

Unless you’re Coca-Cola and have a century of company history under your belt, your logo shouldn’t evoke the era in which it was designed. Today’s oh-so-hot design trend might work just fine for your current ad campaign, which is meant to run for a year, or even a quarter. But your logo must transcend the trend and not tie you to a particular time period. That cool style you loved in 2002 might scream “retro” to today’s consumer. A better, more versatile logo appears timeless and stands the test for multiple decades. It also saves you money by not periodically requiring costly updates of websites, printed materials, signage, apparel, etc.

3. Does my logo blend in, or stand out?

Unless you have an enormous advertising budget (hello, GEICO®) and can continually put your brand in front of millions of consumers every day, your logo needs to be distinctive, if you want your audience to recognize and remember it. An unusual shape, a custom font or a memorable combination of colors can help save you from the sea of sameness.

4. Is my logo unique to me?

Imitation may be the sincerest form of flattery, but it can be a death sentence for your image. If your logo reminds people of another brand—especially a direct competitor—it may be more of a liability than an asset. Worse, you could be helping to build their business, not just your own. Conduct a visual audit of logos in your industry, to ensure you are distinctly positioned against the rest of the field. And don’t limit the study to your current market. Think bigger.

5. Is my logo trying too hard?

It’s true that your logo should encapsulate the essence of your business and its promise. But that doesn’t mean it needs to tell the whole story. It can’t, and it shouldn’t. Marketing offers myriad ways to communicate your story and develop your brand position. That’s not the logo’s job. Rather, when your logo consistently appears in conjunction with your brand messaging and imagery, over time it will take on that meaning—even when appearing alone. Which is how even the simplest of logos can eventually mean so much to their audience.

6. Am I hurting my logo?

One of the most common mistakes in branding is inconsistent logo usage. It will take much longer for your logo to build brand equity if it looks different from one application or venue to the next. What may seem like a harmless “tweak” to make your logo look better on, say, a pen, a sweater or a banner, can cause real and measurable damage to your brand. Inconsistent treatment of your logo not only makes it harder for your audience to recognize the company it represents, it actually makes you look unprofessional and substandard. So, avoid or eliminate superfluous alternate treatments of your logo, and whenever possible, use the standard version.

If you have concerns about your logo and what it is saying about you, our team would be happy to help you optimize your current logo or design a whole new brand identity. Just contact VistaComm today for a free consultation!

  Read Full Article Here: What’s your logo design really saying about you?

[onestowatch]

Q&A: Aaron Camper is Making Music to Fit People, Not Genres

Aaron Camper honed his talents behind the scenes with some of music’s brightest icons —Stevie Wonder, David Guetta, and Diddy to name a few— but lately he’s been branching out on his own and seeing impressive results in the process. His 2016 debut album Blow signaled the arrival of a versatile, experienced artist, and now his follow-up EP Hi-Def shows more of the same from an artist who refuses to be boxed into a singular sound.

Camper fits the whole palette into 26 minutes of music, blending sounds with a vintage yet timeless treatment. Sampling the iconic disco track “The Glow of Love” by Change on “The Heat,” Camper creates a modern, summer-y groove that takes on a life of its own, rather than acting as a tired rehash of the original. “That Body” is equally upbeat but with a much funkier, antique undertone, that relies on pounding percussion to keep the song rolling.

When Camper decides to slow the tempo, his soulful, passionate voice is more than capable of holding the listener’s attention. “Inhale,” the very first song on the tracklist, demonstrates this truth as he serenades an old flame over resonating guitar progressions. “High $ Habit” contains much colder, trap-influenced production, further extending the breadth of sounds that Camper dips into on Hi-Def.

The man behind the music is as genuine as his catalogue implies, and he is a thoughtful creative who keeps an open mind inside and out of the studio. Valuing the individual human experience with music, Camper attempts to keep specific people in mind when he’s making music, ensuring that the final product will appeal to a wide range of listeners.

Ones to Watch recently spoke with Aaron Camper about his philosophy towards music and his exciting position in the industry as a rising musician with a plethora of high-level experience to tap into. Read on below for the full interview!

OTW: You’re newest album, Hi-Def, released in January. Looking back, how do you feel about the project?

Aaron Camper: I feel good. I like the way we rolled it out, it was kind of unexpected. To see the response that it’s gotten, it grew quickly, and I’m just glad we got that; it shows that people really want fresher material, which is good to see. I’m grateful for sure.

OTW: Going into it, what were you trying to accomplish with Hi-Def?

Aaron: We had singles out all last year, just testing and seeing what lands where, how people reacted to different vibes we put out. Then towards the end of the year — we wanted to drop something earlier, but we were just waiting because when we put out “Fire” it did one thing, but when we went to put out “High $ Habit,” we just got totally different responses. So towards the end of the year, the team just put our heads together and just said “let’s get it out, we’ll drop it all at once.” So like I said it was unexpected, because with most projects you have those countdowns and everything, but I didn’t really want to do that. It was unique in that way, to just drop it out of nowhere, but keeps everything fresh, so it’s exciting.

OTW: The cover looks almost like a lone planet in outer space — does that tie into the theme you were trying to get across, or was it just some art that you liked?

Aaron: That was done by my dawg Gavin! To me, since it’s called Hi-Def, I think the cover played into a vintage VHS magnavox set, it visually just takes on that aesthetic where it’s like packaging in itself. But the way you think its space; as far as it pertains to my last album Blow, Hi-Def is kind of a 8 song EP that just fits in its own space, not to be compared with anything, you know what I mean. It’s just another unique piece of work, and another extension of myself, another view of me. So to me it kind of ran like one of those VHS’ my mom would have by the VCR, it just kind of looks like that. But yeah, having its own space is how I see it anyway, so I think it all came across in the artwork, it was dope.

OTW: I saw that you believe writing for just one genre is kind of limiting, especially in today’s music scene. How do you try to avoid that — are you consciously balancing your music across the spectrum between genres, or is it natural for you?

Aaron: I think it’s natural for me, whereas for a lot of other artists, it’s kind of a debate. I’m a musician first, and I love all kinds of music, honestly. I play the guitar and the drums, so when I pick up my guitar, some days I feel like Jodeci, some days I feel like Bruce Springsteen. [Laughs] Yesterday we had a jam at my crib with the homies and homegirls, just kicking it and tuning guitars and stuff, that’s just how it goes. I don’t think anyone wants to be limited to just one thing, I don’t think Kanye wanted to be labeled as just a rapper, like that would have bugged the hell out of him. I find myself at home when I’m writing towards what’s sincere to me as opposed to writing towards a genre, that’s kind of limiting. Being a songwriter, even writing for other artists sometimes, that would limit me before, because you’re trying to write with the artist in mind, and you stray away from what you really hear for yourself, and you push what your heart is saying towards the back to get the job done. So just honing in and writing for myself, getting these projects out to speak for myself and get my narrative across, I think it’s important in being a songwriter to be true to what you want to say.

OTW: So it definitely sounds like the story is more important to you than the genre, but is there any sound that you feel brings it out of you easier, or do you have a favorite style to work in?

Aaron: I think the sounds now, whether it be trap, emo, alternative, R&B, there’s so many lanes and subcategories. And I’m laughing because, we talk about this all the time, like what is your music like, how do you describe it. It’s become so tainted with labels and genres, that you don’t let the music fight its own fight. At the end of the day, a good song is a good song, a great song is a great song, and people will label it however they want. But as far as categories and genres, I try to make sure my music can fit all of these different spaces and cater to all these different listeners, so I just go into the studio and keep myself open, so that way I know I’m reaching out to everybody.

OTW: How do you keep that openness in the studio?

Aaron: It’s been a little journey, it’s been a trip to get that science together. Me and my partner producer, we’ve been writing for the past three summers, you know, like hard-body, everyday, dedicated, for three years straight. So we’re just finding chemistries, because we both have been musicians and traveled the world, and had conversations with people and keep them in mind. I was at Revolt the other week, and I was explaining to them that when I’m writing, I kind of keep people and situations throughout the day in mind. I got a homegirl who I know likes to get dressed to music when she’s going out; I got a homeboy when he gets off work at 5:00, he likes to hear certain vibes in the car. So I kind of keep these instances in mind, like “if someone is about to go out tonight, what do they want to feel, what do they want to hear?” Most girls want something sexy when they’re getting dressed in Vegas or Miami, I just keep that in mind. I look at music like a service, I’m just out here trying to serve everybody food.

OTW: You’ve worked with some big name artists behind the scenes in the beginning stages of your career. Was that hindering your solo career at the time, or did it help you get to where you are now?

Aaron: Nothing can hinder you until you quit, but for me, it definitely helped. Like I said, getting into those other spaces and seeing what those other arenas are all about, and knowing what’s what in the musical landscape. If you’re a journalist and you just work for your city and stay local, I don’t think that will expand your writing as much as it would at a bigger publication sending you abroad for a year and a half, which is kind of like a tour. Like you go to Spain and write on some other music cultures, or you go to London and you have to write about grime. That’s clearly going to be totally different than writing about something here. Well, it may be the same, but you just never know.

I also look at it like, I’m a big basketball fan, and you have some people who come from Europe to America like Manu Ginobili -- he has a European clip to his game that just makes him that much more unguardable. He came to the league with a Eurostep, it gives you that extra clip, where if somebody thinks you’re hindered, you can do something else, where they can’t block you in. I kind of look at it like that.

OTW: You definitely have a lot of strong connections within the industry, but then a lot of fans are still discovering your solo music. Where do you see yourself at this point in your career?

Aaron: I’m excited, I’m at an exciting space. Like you said, working in those different lanes, it can get anyone discouraged when you’re trying to be something, but I was never trying to be anything besides good at what I do. Now that I took the time away from a lot of it, really, and have just been writing in the lab creating, I know I’m still new to people, and I understand that, which is why we’re taking it slow, we’re kind of sourcing it out, like “this person likes this, or these people like that, or this shorty just jumped in the DM and she likes this.” It kind of gives you a map, so me and management just wanted to take out time and see what the audience is, what their profile looks like, what do they do. As you build your tribe and people are connecting with your music, I like to do the math on them as well, so that as we grow, I’m giving out the best food, and giving everyone what they need to hear.

OTW: So in terms of your goals, as you’ve grown in your career, have your goals also shifted, or have they stayed the same?

Aaron: My goals are pretty much the same, I mean, I want a Grammy, I want to keep knocking conversations and tables over with the unexpected. I’ve always been about that, I’ve always been in situations that have led to some good conversations in music. I just want to stay there and grow with that, trendsetting and leading the conversation as far as not being lumped into one thing. Especially in R&B, it’s very easy to be typecast as just R&B, so I think it’s a unique time for me and the music, I’m just excited to see as we navigate and curate this whole thing, I’m anxious to see how far it goes.

OTW: Last question: Who are some of your Ones to Watch artists?

Aaron: Ah, damn. Actually, I just started some personal playlists of mine on Spotify, which I would encourage you to follow. I added some things the other day, like Ravyn Lenae, she’s very dope. My girl BOSCO, I think she had one of the dopest songs last year with “Cruel,” I like that one a lot. Sonder is dope; Brent Faiyaz is from the crib, he’s from Maryland. Kali Uchis, I was in LA and heard her song with Tyler, The Creator and was like “what the fuck is this?” I was at a taco stand, that shit is hard. [Laughs] It’s a groove. There’s a ton of people I’m just getting hip to, and their vibe is such an energy, I’m all about that. I like when I turn the song on first, and it’s got that energy to it, and it has some sounds that just get me in from the door, I fuck with it. CyHi the Prince’s album is fire, of course K.R.I.T.’s album was fire, Black Panther is fire. Hi-Def is fire! 

I’m loving all the new music that’s coming, especially from an urban perspective, because it doesn’t get the chance to grow and mature. I’m loving the effort that everyone’s putting out to be the staple of that sound, I champion that.

OTW: Awesome! Any last words?

Aaron: Go grab Hi-Def, everybody should be adding it to their playlists. We have a whole lot of fire coming this year, I have another album that’s dropping, so be on your toes for that. Way more visuals, and then we get back on the road, we’re ramping it up even more.

[101percentindia]

I Asked Six Fashion Designers What The Oldest Items In Their Wardrobes Were

They set the trends, but sometimes stick to comfort and sameness for themselves.

One of my favourite characters, Blair Waldorf said, “Fashion is the most powerful form of art there is. It is movement, design, and architecture, all in one. It shows the world who we are and who we would like to be.”

So it's no surprise that across the world, fashion designers are the rock stars of society. But with great power comes great responsibility. Season after season, these magicians live under constant pressure to pull rabbits out of their hats. In this time of fast fashion, and the constant cycle of create and re-create, how do these artisans manage to find value in abundance?

I asked 6 of India’s prominent designers, to give me a glimpse of the thread that connects the dots for them. By presenting the oldest item in their closet, they give me an idea of how to sustain normalcy in an ever-evolving environment, and maintain quality over quantity. They speak about style and sentimental value.

After talking to these designers, I realised that although fashion and style says a lot about a person, it’s the the sentimental value associated with a piece of clothing that says a lot more.

What is the most irreplaceable item in your wardrobe?

Rimzim Dadu, Fashion Designer

Is there an item in your wardrobe that’s irreplaceable to you? I got married earlier this year, and my mother, like every mother, wanted to gift me jewellery as part of my wedding trousseau. Now, I am not a big jewellery person, but my grand mum used to wear this amazing vintage neck piece that I had always been fascinated with, growing up (something my grand mum inherited from her mother). I converted that into these earrings, since statement earrings are more my style than elaborate neck pieces. I figured if I had to wear jewellery, it had to be something I had an emotional connect with – and I love these so much!

What is the one thing that you believe in splurging on? I am not a big splurger! I think the only things I like splurging on is food and travel. Related: Five Style Icons Take The Oldest Item In Their Closet, And Style It In A New Way

Anand Bhushan, Fashion Designer

What’s old and irreplaceable for you? It's a 24K gold pocket watch that has been in my family for over 150 years. Being the eldest in this generation of my family, I was given this watch by my father when I turned 18. It's not just a beautiful piece of heirloom jewellery, but has so many stories, from different generations of my family.

What item in your closet do you tend to use and repeat most often? Antique Jamawar and Pasmina shawls that come out every year for weddings, during winter. They are beautiful and I have kept them with great care. Also a beautiful white jamdani anarkali is one of my favorite pieces that I repeat a lot.

Shivan Bhatiya, Fashion Designer

What item in your closet has sentimental value and is irreplaceable to you? It’s an off-white, Kashmiri-weave shawl. It belonged to my dad and I have countless memories through my childhood of him wearing it.  The first time I left home to go study in Milan, I took it with me, as it felt like a piece of home.  I have had it for over 10 years, and since it’s a large size men’s shawl, it is extremely versatile. Sometimes I even use it as a blanket when I’m travelling as it protects against all temperatures. Plus it’s a classic, it goes with everything.

You travel a lot for work and leisure, what are your tips to looking stylish while on the go? To be honest, I’m not a light traveller. I feel the need to carry a lot with me. So I’ve come up with a technique that makes my life easier. I literally plan an entire outfit, top to bottom, accessories included, for each day I am away. I try each thing on again before putting it in the suitcase. Yes this does take some extra time during the packing process, but to me it's justified, as it provides more room for versatile extras that work with several looks. And sunglasses. I know it's a cliché, but I feel naked without them. I have been known to wear them to nightclubs too!

Masaba Gupta, Fashion Designer

Please tell me about an item in your closet that’s irreplaceable to you The oldest item in my closet is this Tarun Tahiliani kurta and skirt. It was a hand- me-down from my mom, when I was 17. It’s Chikankari and timeless. I still wear it all the time.

What is one item every woman should have in her wardrobe? Multiple white shirts, in different styles and sizes. They are fail-safe, for any kind of occasion. Related: Six Makeup Artists Show Me The Most Prized Item In Their Wardrobe

Pernia Qureshi, Fashion Designer

Let's talk about any item in your closet you consider irreplaceable. That has to be my mother's first luxury watch, her first watch after marriage. It's vintage and holds a lot of sentimental value. I love wearing old pieces owned by my family.

What is the one item in your closet  that you do not believe in splurging on? I don't belive in splurging on almost anything but shoes. Shoes that are well made and good for your feet. Technique and design wise they can tend to be expensive. Other than that, my true belief is that it is completely possible to have a fabulous, on-budget wardrobe, including any item.

Sahil Aneja, Fashion Designer

Is there anything in your wardrobe you consider irreplaceable? I bought this shirt few years ago on a business trip, at an airport (courtesy of lost luggage) Since then it has become my staple for comfort clothing. It's perfect for working, holidaying, or even a casual Sunday brunch. The fact that I bought it in a time of need, without any particular desire to buy it otherwise, makes it even more irreplaceable. It will always be something that I never needed, but has now ended up being my go-to for comfort and style.

Is there any item or piece of clothing every man should have in his wardrobe? A good bespoke fitted black suit. A suit is a classic that every man should own. It’s a long term investment, and appropriate for all significant events, like job interviews, meetings, office presentations, or even just for creating an impression at any given moment. Clothes create an impression without any sort of communication on your end, especially in the commercial world. So if you want to be taken seriously, then dress well, not necessarily expensively, but well groomed. Like l said before, it’s an investment that justifies the expense.

Disclaimer: The views expressed in this article are independent views solely of the author(s) expressed in their private capacity and do not in any way represent or reflect the views of 101India.com

By Radha Jetley Photographs by Karishma Bedi

[books-n-wine]

~**~ ARC Review: Elusive (Shipwreck #1) by L A Fiore ~**~

***5 ‘Elusive Heaven’ Stars***

I want to go treasure hunting now...I do, really…*sigh* ok maybe NOT in real life, but I definitely want to read more books like this one because there was just so much to love about Elusive. It has not one, but two epic romances, mystery, adventure, life and death situations, hot as sin pirates and head strong characters with amazing hearts. All of these factors, plus the fact that it gave me the feels and got me a little teary eyed, made it a hard book to put down and one I didn’t want to end.

Kace is an enigma, one I adored, but still an enigma. He’s alpha AF, smexy as sin, protective, has a presence about him that you can feel from miles around, ruthless and is way to intelligent for his own good. He believes his heart and soul are black, and based on his past he’s not too far off course, but even in the darkness there is light always trying to break free.

Willow I out right adored. She comes across as soft and empathetic, and she is. She feels everything and even when that feeling is sadness or pain, she finds a way to deal with it and move on. But this doesn’t mean she is weak, her strength comes from feeling so much and makes her driven and determined to attain her dreams.

Even though their journey to their HEA wasn’t smooth sailing, it was perfect for Kace and Willow. Their connection was soul deep and I enjoyed seeing how that connection helped to make both of them evolve into the people they were always meant to be. The sexual tension between them was, for lack of a better word, intense and it was always there no matter what they were doing. The choppy waters they had to maneuver through were frustrating, but necessary and I was very happy with how everything worked out for them in the end.

I have yet to read all of Ms. Fiore’s books, but Elusive may very well be my favorite of the ones I have read. Not only does she give us an epic romance, but she also gives us a timeless secondary romance that held me as in thrall as Kace and Willow’s. The details, the backstory, and how it all unfolded was truly a joy to read. And you all know while I love the main characters, I’m always checking out the secondary characters and I gotta tell you I’m already making grabby hands for the next book (It doesn’t come out until 2018, but I’m starting now). I honestly can’t decide which of Kace’s crew interests me the most because they are all intriguing in their own right, so I’m just gonna claim them all *BSEG* If you’re looking to get swept away by a romance with hot pirates whose morals go a little sideways, feisty woman and a journal that may hold the key to an amazing treasure then this is book for you!

Fav quote (especially because of who said it): ""...but for just a little while you found that elusive heaven people always talk about...""

~ Copy provided by The Next Step PR & voluntarily reviewed ~

I didn’t set out to be a pirate.

Life for me was about surviving the ugliness that people knew existed but didn’t talk about.

I lived in hell.

Then I saw her.

I knew I couldn’t keep her, but for just a little while I had found heaven.

Eight years later, I can’t get her out of my head.

It is a mistake sailing to her island.

It is a mistake reaching out to her.

She doesn’t recognize me. Or maybe she does.

Closure, it is all I’m after.

Then my past comes back to haunt me.

She’s thrust into my ruthless world. An angel.

A romantic who has a journal that leads to a shipwreck and a lost treasure.

She’s wants to find the ending to a love story that is over two hundred years in the making.

I want to help her find it.

I didn’t set out to be a pirate.

I didn’t set out to fall in love with an angel.

I did both anyway.

Release Date: July 21st, 2017

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L.A. Fiore is the author of several books including Beautifully Damaged, Collecting the Pieces and His Light in the Dark. Her favorite movie is Star Wars, a love her son shares. They hope to build their own Millennium Falcon one day. She would like to meet the Winchester Boys to thank them for enlightening her on the versatility of salt as not just a food enhancer, but as protection from supernatural threats. And she thinks it would be interesting to be a zombie, to get an idea of what life is like as a brain-addicted fiend so she can be their voice to tell their side of the story. She lives in Pennsylvania with her husband and kids, their two spoiled cats and their awesome dog.

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