#listen to music and watch shows in a way that contributes to the artists

[orange-lover]

today i used a piracy website and listened to music through cassette tapes and bandcamp. i love avoiding capitalism wherever possible its so freeing

[chantylay]

Keep the pressure on the EBU to ban Israel from Eurovision!

The EBU's contact page is here: https://www.ebu.ch/about/contact-us

The Irish Broadcaster's is here: https://about.rte.ie/contact/contact-details/

And Irish representative Bambie Thug has already spoken in support of Palestine, but tempered their statement by saying the EBU decides. Show them they have our support for demanding action from the EBU: https://hausofthug.com/contact

Content warning for the video below: If you keep watching to the panel reaction, several members misgender Bambie Thug who is a nonbinary performer.

If you have ever seen those posts about how you have to actually listen to goth music to count yourself as goth and wondered "but what is goth music," then I present exhibit A: Ireland's Eurovision 2024 representative Bambie Thug and their song "Doomsday Blue."

On the music side, it's an eclectic mix of industrial rock and more pop-adjacent sounds. The transitions can be abrupt, but it works best that way, keeping the listener on their toes and contributing to the sense of chaos evoked by the titular doom.

The lyrics cast a spell on an ex that the character is clearly not over. The Harry Potter reference at the beginning if each verse would be tacky, but the artist is trans so they are allowed. I hope Rowling seethes over it.

The Late Late Show is not the best equipped show for a big staging concept. We have what are likely to be some of the main lighting cues. The choreography may need to be adjusted as the stage in Malmo is in the round, but I suspect the final version will have much of the same flavor. The shadow demon backup dancers are great. With the bigger stage, we might get more of them. I also suspect the final costume will be crazier. The Irish voting public has been known to be a bit conservative, and I think they chose their costume based on not being too out there... yet.

[corndogninja]

Space Dandy's musical homage to John Carpenter's Assault on Precinct 13

Space Dandy is one of my all-time favorite anime series, and a huge part of that is the soundtrack. A collaboration from many artists in a variety of funky, retro styles that bring together a ton of influences – I often find myself listening to it apart from the show, and still follow several artists that I discovered from their Dandy contributions.

I recently watched Assault on Precinct 13 (directed, written, and scored by John Carpenter) and had a moment of recognition at one of the music pieces - a slow, moody track (typically called "Julie" on later soundtrack releases):

I had heard this before... in Space Dandy! The track "Napoleon & Bishop" is an extremely similar take on this piece!

Furthering the connection, the track name refers to two of the starring characters: convicted murderer Napoleon Wilson and police Lieutenant Ethan Bishop, who become unlikely allies during the titular assault.

Although some quick Googling found I wasn't the first person to notice this, I didn't immediately see any insight about why this pretty specific homage was made. I was really curious as to what was going on behind the scenes, so I did some research...

First, I looked to see if series director Shinichiro Watanabe had mentioned anything about it. During an appearance at Otakon 2013, Watanabe explained his approach to the soundtrack. He selected a variety of musicians whose work he personally enjoyed. They were given an open-ended direction of what sort of music to make, and there was a general request to avoid using any instruments invented after 1984 to give an old-school/retro feeling.

I pulled out my ol' Space Dandy Official Fan Book, which covers the first season of the show and features brief interviews with many artists, to see if Mito's profile section had any specific insights:

(Note: I can't read Japanese myself, so this information is paraphrasing a mix of machine and manual translations.)

The musician Mito (of the band Clammbon) is responsible for the piece in question. He mentions meeting Watanabe at a James Blake show, where the topic of John Carpenter's music came up. Discovering they had a mutual appreciation of Carpenter, Watanabe expressed a desire to work with Mito on a future anime production.

Watanabe's Dandy direction for Mito was to make something to express his love for John Carpenter's horror music.

In keeping with the pre-1984 limitation on music, Mito took advantage of Carpenter fans' work identifying the synthesizers the director had used and strove to use that original analog equipment as much as possible. Adding that this manual audio mixing process meant that he couldn't provide stems, he jokingly acknowledges his approach may have caused trouble for the post-production staff.

His remarks seem to indicate that "Napoleon & Bishop" was written for episode 4 ("Sometimes You Can't Live With Dying, Baby", it plays during the finale as the galaxy becomes zombified), although it can be heard in several other episodes.

Now, "Sometimes You Can't Live With Dying, Baby" is obviously primarily referencing George A. Romero's Dead movies: the zombie's desire to go to the mall references the setting of Dawn of the Dead, and Romero himself is name-dropped in the movie the characters watch as the episode closes. But there's a bit of Carpenterian connection there, too, if you're willing to look at it that way...

John Carpenter never made a true "zombie" movie, despite his frequent forays into horror. However, Assault on Precinct 13 has been noted for its resemblance to the zombie subgenre: the relentlessly murderous gang members are presented nearly without dialogue and act in an eerily deliberate manner, with a single-minded focus on attacking the protagonists regardless of how many losses they take, so despite their use of firearms they come across almost like mindless zombies. The plots are also loosely similar, with both movies featuring several individuals brought together by chance barricaded against the waves of enemies. Many reviewers have compared Assault on Precinct 13 to Night of the Living Dead; Carpenter himself acknowledged that, as his primary influence was Rio Bravo, the production of the movie was "cross[ing] the western genre with a Night of the Living Dead horror movie" on the DVD commentary.

So there you have it!

Both director and musician had a fondness for John Carpenter's music, leading to the specific request to homage Carpenter's scores

A horror-inspired episode Space Dandy episode served as a good place to exercise that fondness for Carpenter

Mito combined the request to evoke Carpenter with the guideline to use vintage instruments, and recreated Carpenter's 70s sound with analog equipment in a way that very closely mirrored the original musical cue

This was a fun connection to discover, and I enjoyed digging deeper to figure out what motivated Watanabe and Mito to make the homage.

------

Additional footnotes:

1. Carpenter's remarks on his Precinct 13 score:

From the liner notes of the 2003 soundtrack release:

It is interesting (but not surprising) that the soundtrack for Assault on Precinct 13 is only 26 minutes long. In my own defense, it was all the time I could afford in the recording studio. I had to compose and perform a few mood pieces that I could use again and again through the movie.

He also recalls "having great difficulty" composing the "quiet piano sequence" that would become "Julie" (and would inspire "Napoleon & Bishop").

I find it interesting that the process of using mood pieces "again and again" also serves to describe Space Dandy, with many tracks (including "Napoleon & Bishop") used multiple times to evoke emotion.

2. Watanabe's remarks on John Carpenter

At Otakon 2013, when asked about 1970s movies that inspired Space Dandy, Watanabe mentioned Carpenter (in general, not Assault on Precinct 13 in particular):

I like John Carpenter movies. Space Dandy is greatly influenced by John Carpenter. Do you guys know the movie Dark Star? It’s heavily influenced by that.

He also remarked that all Dandy crew members had to watch a few movies, including Dark Star, prior to starting. During a Q&A, he told a fan that Dark Star "is a very dumb movie, so please check it out."

3. Mito Goes To Hollywood

Mito also brings up the song he wrote for episode 13 ("Even Vacuum Cleaners Fall in Love, Baby"):

For this song, he was requested to make "something like Frankie Goes to Hollywood," which he describes as a niche request. I'm not particularly knowledgeable about the work of Messrs. Frankie, but "I should be..." might be a pastiche of "The Power of Love":

[jgroffdaily]

Merrily We Roll Along review summary Part 1

Peter Marks, Washington Post

Like precision code breakers, the team responsible for the revival of “Merrily We Roll Along” have cracked it.

The blessed contributions of Groff, Mendez and Radcliffe — in addition to Krystal Joy Brown, Katie Rose Clarke and Reg Rogers in crucial supporting roles — coalesce in a way that feels almost spiritual.

But when you’re hearing his music so beautifully realized — Radcliffe keeps up impressively with musical-theater prodigies Mendez and Groff — you grasp even more deeply the melodic and lyrical sophistication at work.

Groff’s transformation-in-reverse is a perceptive journey as well, from remorseful Hollywood sellout to star-struck starving artist, pressing his nose up against the window of fame and riches.

Ideally, this Broadway incarnation will be both a hit and a reflection of the higher aspirations of musical theater. It’s even tighter, funnier and more touching than what Friedman staged off-Broadway.

So much ingenuity. So much joyful creativity. So much for audiences to savor.

Kobi Kassal, Theatrely

Further, it's hard to go wrong when you have Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez above the title. The heart of the show lies with this trio whose genuine connection and truth shines out across the Hudson stage eight times a week. Groff, who has the charisma down pat, dazzles as Frank. When paired with Radcliffe’s Charley, filled with loveable charm, and Mendez’s Mary who is utterly gut-wrenching to watch as her true love slips away, this trio equals Broadway perfection.

Merrily marks the third Broadway revival of a Sondheim work since his death, in addition to the premiere of his final work, Here We Are, at The Shed. Many of his shows are beloved, but if you want a healthy dose of Broadway serotonin, get thee to the Hudson immediately. Truth be told, you don’t need to listen to the critics, and if you have gotten this far in the review, I think we are all on the same page. Some true theatre magic is happening on that stage, and for that we will forever be grateful.

Sara Holdren, Vulture

It’s possible for Frank to swing and schmooze his way through this scene as the worst version of himself: “Who says, ‘Lonely at the top’? / I say, ‘Let it never stop!’” he sings to his crowd of sycophants. But Groff is an actor who’s able to communicate hurt and humanity even through a carapace of ego and moral deficiency. (In this way he reminds me of Matthew Macfadyen: Who among us has any business feeling empathy for Tom Wambsgans? And yet …) All through Merrily’s opening scene, Groff’s eyes are dead hollows — deep, dark wells with reservoirs of tears way down at the bottom, threatening to make their way up. He smiles, he sings, his body propels itself around the room, and he’s not there. His Frank is the worst version of himself, but he knows it, and he’s terribly alone and afraid. Watching Groff — who, as the show moves forward and backward, becomes visibly younger: driven, yes, but also sweet and earnest, almost puppyish — I thought of Chekhov’s successful, unprincipled writer Trigorin, who tells his lover: “I haven’t got any willpower. I never have had … Go on, take me, take me away with you. But please, don’t ever let me out of your sight.” Groff makes clear that Frank’s is a tragedy of weakness, not simply of greed.

And Charley! As the twitching, high-integrity, high-anxiety writer, Radcliffe is a complete delight. Next to Groff’s Frank, who’s tall, square-shouldered, and — at least outwardly — self-possessed, Radcliffe is a vibrating sprite, the kind of person whose big brain you can practically see smoking as it spins.

The enlivening pulse created by Radcliffe, Mendez, and Groff gains strength and drive through the production’s rock-solid ensemble. Gilmour (also the costume designer) dresses them in softly period, unified swaths of color as the play moves back in time — blues, then beiges, then, in the lavish, La Dolce Vita–ish early ‘60s, in hard black and white. There’s something smart happening here: Groff, as Frank, wears varyingly sophisticated versions of the same white shirt and black trousers throughout the show, but at the top of Act Two, as Gussie (not yet his wife) seductively introduces him to “The Blob” — a pulsating swarm of influentials, “the ones who know everyone that everyone knows” — Frank’s clothes match the company’s for the first time. He is, whether consciously or not, getting sucked into something. No — it already has him.

Some shows can withstand miscasting — turns out, Merrily can’t. (It’s often said that the casting of very young actors was a large part of the original production’s failure.) Even the big producer, Joe Josephson, who can come off as a Hollywood hack with dollar signs for pupils, is brought a sense of hangdog appeal by Reg Rogers. You get the feeling that Josephson is affable at heart, tired in soul, and that even he might have had ideals once. Friedman’s great insight — perhaps owing to her own long career onstage — is to have sought out actors she, and we, can entirely trust, and to trust them. (It sounds simple. It’s not.) She locates the play’s potential to be caring rather than callous not on the page but in the specific human beings who are here, doing this thing, right now. A central trio as sensitive and superb as this one doesn’t just make Merrily more moving; it makes it much more fun. It even adds a faint glimmer of something resembling hope. If Frank can reconsider, then he may yet change. Or he may not. But either way, an actor must show us, as Groff does, a true encounter with the mirror. With their irresistible energy and chemistry, Mendez, Groff, and Radcliffe lift Merrily up, yet keep it grounded with real, apparent affection and emotional heft. They are the ones reviving the play, by revealing and jump-starting its heart.

[ddkdus]

“Road of the Ace: A literary Journalism of Lee Heeseung”

-Ayeon Jeong

In 2020, when the COVID-19 pandemic hit, I watched a K-pop survival show called “I-Land,” which altered my life. Specifically, "I-Land" is a survival show that eliminates trainees who aren’t able to make it into the top seven, chosen by professional music producers of BELIFT Lab or global citizens through a voting app. It was a collaboration between the Hybe label, the entertainment company behind BTS and TXT, and TVN, a Korean broadcast system. Lee Heeseung was one of the candidates, a twenty-two-year-old Korean man born on October 15, 2001. Now. He is a member of the famous K-pop boy band “Enhypen.”

Lee Heeseung was an ordinary Korean junior high school student preparing to attend senior high. However, since his father knew he had an ambition to become a singer, he urged him to apply to an art school for senior high. He listened to him and went to the school for his entrance exam and audition. That is when he got scouted by various entertainment companies. Among all, he chose BigHit as it was the company that desired to contract with him as soon as possible.

Since then, he began his journey of becoming a K-pop idol. After three years of training, he got an opportunity to debut through the audition/survival program I-Land. In the first episode, he mentioned that he trained alongside the present TXT members, which made the viewers interested in him. The other candidates defined him as the ace among the trainees and even put him as a role model, which raised expectations among the viewers. Moreover, he became famous for his deer-like eyes, powerful dance gestures, sweet voice, leadership, and proficiency he showed during the missions. Heeseung was able to obtain many votes from the public, acquire the first choice from the producer, and secure the fifth-place position at the end. Being at the show was not painless, but he always did his best.

Right after he officially became part of the debut team Enhypen, he experienced new wrangles. He had his own songs to practice, artist manner lessons, foreign language lessons, and most importantly, his own fans he must amuse. Unexpectedly, he is the eldest member of the group. Though he was suggested to become the team leader, he denied it, as he thought becoming the leader and eldest at the same time meant more responsibility, and said he would do his job as the eldest member.

November 30, 2020, when he debuted, his life was more than he expected. He had a hard time preparing for his debut, but the love he received from his fans made it worth it. He may not interact with his fans that much, but his love for the Engenes is vivid. Enhypen then received a lot of titles like “The 4th Gen Hot Icon” and “K-pop’s present and future.” Additionally, they received awards from big awards shows like the Rookie award from MAMA and AAA awards and the main prize from the Seoul Music Awards.

In conclusion, Lee Heeseung's journey from an ordinary student to a member of the successful K-pop group Enhypen showcases his determination, talent, and humility. Despite facing challenges along the way, such as the rigorous training process and the pressures of the debut, he has remained grounded and grateful for the support of his fans and family. His contributions to Enhypen's success have earned him recognition he would never forget. Now, he is maintaining his journal with a few new aspects in life like producing a music.

[itsdefinitely]

i don't have the energy to force myself to create new fanart, which makes me sad that i can't contribute to this show's sendoff, but i can at least write something down.

i remember discovering beetlejuice in the beginning of summer 2022, i listened to a few songs (namely: girl scout, say my name, and the whole being dead thing) and that was it. good music. nice animatics. later in that same summer, in august probably, i rediscovered it. i listened to the whole album, watched a ton of animatics, and indulged myself on the performances uploaded to the beetlejuice youtube channel. i think that's where the start of my love for beetlejuice began, it snapped me out of a really deppresive time and i couldn’t get enough of it. there wasn't enough content, so i dusted off the unfinished Say My Name animatic and got to work. the animatic gave me something to do, and probably singlehandedly held my mental health up; i never once got tired of the song. when my mom said she was taking me to see beetlejuice for my birthday i started crying. (the show was amazing, by the way) joining tumblr and looking at all the fellow beetlejuice fanatics really cheered me up and jumpstarted my will to create, and while my brain isn't soley fixated on beetlejuice right now, the artists and just generally everyone inspire me so much to continue doing things. not just create, to continue waking up each morning, to continue living.

i'm going to have to cut this short because it's getting long and sort of deppresing and too personal, but my point is: beetlejuice the musical is my all-time favorite musical with one of the best communities i've seen. i love the show more than i can describe and they didn’t deserve to be kicked off so soon.

here's a collection of some of my favorite beetlejuice fanart i've made:

[sunnytastic]

I'm finally gonna post my controversial BTS opinions because this MY blog and I can do what I want with it:

- Note: When talking about his overall work, I refer to Yoongi as Yoongi, and when talking about Yoongi's work with BTS, I refer to him as Suga. This is because Yoongi makes music under two aliases: Suga, under which he performs and produces work for BTS and others, and Agust D, which is a darker, primarily rap based persona.

1) The English songs (with the exception of Permission to Dance) are awful. It is so clear to me BTS were selling out to become popular with mainstream America- which of course failed because who the fuck sings about butter? Though I don't necessarily think it was a full sell out; while I do think they were using the English songs to gain popularity, I do think they would have returned to making primarily Korean music after breaking into the mainstream.

2) RM, Suga, and J-Hope are the reason BTS's music is so good. They were the first three members signed by Hitman Bang, and BTS was formed as a way to publish their music (A multi-dimensional (rap, vocals, and dance) boy band was necessary for BTS to make their mark on the K-pop scene). That's not to say the other 4 members don't contribute to the band- BTS wouldn't be BTS without each member- or they aren't involved with the making of the music, but if you look at the album credits, especially the early albums when they were discovering their sound, RM, Suga, and J-Hope are the members who were most involved in the writing and production of the songs.

3) BTS are first and foremost a rap and r&b group. It is not a coincidence BTS's best songs are rap songs or that the rappers of the group (RM, Suga, and J-Hope) are the founding members and principal producers. Over time, they also introduced EDM to their sonic profile, which allowed them to add some pop elements to their music. However, when BTS started making primarily pop music instead of rap, r&b and EDM, the quality of their songs decreased significantly. This was a very sharp decline because Map of the Soul: 7 was a quality album, and hell, BE was pretty good too, but the poppy-ness of the English songs and most of the solo releases are the reason why they suck in comparison to the rest of BTS's discography.

4) J-Hope's Hope World, Taehyung's Layover, and all of RM's and Yoongi's discographies are the only good solo works. Hope World, Layover, Mono (RM), Indigo (RM), and the Agust D Trilogy (Yoongi) each have a very distinct and cohesive sound. RM and Yoongi's work as producers for other artists is consistently very good as well. Additionally, closer examination of these albums show they are primarily rap, r&b, and edm, rather than pop, even if they do contain some pop elements.

5) I don't think BTS are getting back together- bands very rarely do. The members also have very different music styles from each other now, as evident from the solo works. However, I wouldn't be surprised if there were some collaborations in the future. In particular, I think there is high possibility for RM, J-Hope, and Suga (especially RM and Suga) to collaborate and create their own album as a trio (or duo). That being said, I would be happy to be proven wrong on this point.

Again, to any over zealous ARMY who happens to find this, these are just my OPINIONS and shouldn't be taken as anything other than the mad ramblings of a college student who now has too much time on their hands because of winter break. Even so, I've been a BTS fan for 8 and a half years and I've been there for most of their sonic development. I've watched them be chameleons who use elements from several genres to produce a sound which is unique theirs. I genuinely believe there is not another band who can experiment with music the way they do and still make it sound consistently great. Out of all the artists I listen to, they have the least amount of skips (I literally only skip the Japanese versions and English songs); BTS are just that good. So these opinions come from an angle of supreme admiration for their craft.

For anyone curious, my favorite member is Yoongi; specifically Agust D. I practically live on the D-2 album. RM is a very close second- Mono was there for me during a very dark time in my life. My favorite BTS album is Dark & Wild (the intro is soooo good). In general, I have a preference for the earlier albums. While I love all the albums, the pure rap and r&b vibes of early albums are just fantastic- which also means I have a very strong preference for BTS' rap songs.

Anyways, this is insanely long so I'm just gonna end it here: Since Love is Everything - RM

[halliescomut]

V Random SKZ post

I watched a TT, I'm not posting it here, because I already know this person is probably gonna get dogpiled by rabid Stays, and I won't contribute to that, but I have so many thoughts and nowhere to share them. Their TT was about how they feel like SKZ and 3Racha have been coasting the last couple of years and they're not doing anything innovative and that they're not using Seungmin to his full potential, nor IN. But everything they bring up regarding the last couple of years is just their title tracks. Saying that the songs always a have a formula, that they've become predictable, and I do agree with that point...however, I believe it's intentional. Since....I would say Go Live (or God's Menu), I think that their title tracks have followed a formula. It's something I talked about on my own SKZ TT when RockStar, and also maybe 5 Star came out, when I did a first thoughts on those albums. Their title tracks, very much in the last 2-3 years, have felt like they are SKZ sort of playing the KPop game. These are the songs that need to catch a general audience, that's their purpose. They're intended for radio play, they're intended to hopefully win on music shows, to bring in new listeners. That is their purpose. That is the purpose of every title track by every artist in the industry, both KPop and western. It feels, to me, disingenuous to almost write them off because their title tracks don't push the limits enough, while ignoring their B-sides.

You want to talk about how their first few albums were no skips, but it seems like you're not even listening to the full albums they've put out in the last 2 years. I would argue that I think Miroh is one of their most cohesive albums musically and tonally, and it is certainly a no skips album. But I'd say that Maxident is also no skips. And you say they aren't being innovative, when Case 143 is one the most experimental songs they've done in terms of concept. It's a song that was VERY MUCH not the expectation after albums like Thunderous and Oddinary. And setting aside the title track, to look at the B-sides, you have unit songs, some of the most well known and well liked songs of that album, with 3Racha, Taste, and Can't Stop, which also have three DRASTICALLY different tones. Give Me Your TMI is almost the yin to Case 143's yang. Instead of showcasing the disbelief and confusion of falling in love like Case 143, you're instead seeing this full acceptance and desperation. Then look at songs like Chill and Super Board. Super Board's lyrics read like a mad lib, but the point and the purpose are still clear, that if you're focused on chasing them, you'll eventually be left to watch them soar. Chill follows in the proud tradition SKZ is known for of songs whose upbeat tone doesn't match it's devastating lyrics, talking instead about ending a relationship that was already over. Leaving aside Super Board and 3Racha, all of the songs on the albums address and express the varying different aspects and feelings of love that people might experience, giving nearly every person listening an entry point into emotionally connecting with any of those songs. And even if you're not at the level of seeking out the translated lyrics, the songs are still definitely a bop.

In regards to the misuse...or lack of use for Seungmin and IN. They've certainly created opportunities to allow both vocalists to shine and show different aspects of their talent. The SKZ Players and Records offer a unique opportunity for all of the members to showcase they're abilities and to experiment musically in a way that doesn't have to be 'approved' by JYPE the way that album tracks do. Is this the perfect solution? No. Wouldn't it be better/preferable for them to be able to showcase their skills on their regular albums? Absolutely. But they still have to play the game. I truly feel that only NOW, like right now, has SKZ reached a level of success where they have the leverage to take risks creatively. I think after their Kingdom win the reins were loosened a smidge, but they still had to tread carefully, and toe the company line. Following the records they were able to break this year and the opportunities and recognition they've received globally, I think they're now in a position where they have the leverage to start taking more risks. They've proven themselves. I really think this coming year we'll start to see even more creative risks being taken. And I think we'll see a different utilization of their vocals. We've seen them disregard their established positions, essentially since Woojin left, and maintain that type of mindset ever since. And when given the opportunity they do work outside of the 'established norms' of KPop. Look at their most recent album, Rock Star. You have Cover Me, a song that fully utilizes and embraces Seungmin's vocal abilities, as well as showcasing rarely seen sides of Changbin and Felix's vocals. I could literally go on for hours about how well thought out and constructed that song is as a vehicle for showcasing all of the member's vocal abilities. Hyunjin created such an elaborate and seemingly simple song, that effortlessly blends together the voices of the members in a way we hadn't seen before, something I truly believe only Hyunjin could imagine. You have Megaverse, where Chan very particularly wanted to have IN to show a different vocal style than he's had before.

You have Leave, which not only offers a 'softer side' of the member's who normally would rap, even in slower/more heartfelt songs like Winter Falls or Scars, but also Comflex, which gives Seungmin a chance to do something in a melodic rap style. To hear Chan talk about the skills the IN and Seungmin have, while he may not be able to provide them with the perfect vehicle to show case that, I believe he's trying and he wants to. I do not doubt for a second that he's working on tracks that would showcase different sides of their voices in particular, but it takes time, and humans aren't a bottomless creative well.

I feel like it is easy to 'expect more' from SKZ because we know that they are self-produced, and that very little of their work is done by outside persons (and those that are credited appear over and over again in their discography, which indicates to me that their input and skill is respected by 3Racha), but they are still under one of the big 3 idol companies. The truth of it is that the larger the entertainment company, the less likely they are to take risks creatively, because they have more to lose. That's why you see indie artists able to take some of these bigger creative risks, they don't have a lot to lose. And if you're a big fish in a small pond, like Ateez under KQ, then you're gonna have more leverage because those corporations are smaller, and they won't risk their largest moneymaker choosing to break their contracts over creative differences. But SKZ isn't that under JYPE. While I can imagine them not choosing to renew their contract and separating as a group or 3Racha/Chan potentially starting their own production company once their contracts expire, it would take an egregious breach of trust on JYPE's part to make them leave that company now, when their contract is literally due to expire in March of 2025 at the latest. So it's also entirely plausible that at this point they're biding their time, especially if they do plan to continue as a group post enlistment. But circling back to my point, to believe that because they are self-produced and they write their own tracks (almost 100% at this point) does not mean that they have full creative control over every aspect of their work. They have a say, and a level of input, but they also still have to submit their albums for review and approval just like every other idol group under JYPE.

i don't know if I have a way to sum all of this up, but I guess the easiest way would be to say "Don't Judge a KPop Group By Their Title Track."

[lgcjihan-archive]

INSTAGRAM FEED ( OCTOBER ). wordcount: 257

                                          ♡ A look into Jihan's social lifestyle.

this was the month of the miffy addiction jihan has found upon herself.

it has always been hinted that this beginner model enjoys the fluffy character in some of her previous posts over the month, but this time around, it shows in small doodles, in the background of her Instagram stories, and even in her posts. this has become her emotional support character, one she can shamelessly decorate her new apartment with. the black and white colors have contributed to her decisions in clothing and overall aesthetic as well.

and while Miffy was one of the main attractions in her post, so is music. jihan being a big music fan should be no shocker to those who have followed her since the beginning. she is always posting song recommendations or what she's listening to in that moment. this is a way to connect with her fans on a deeper level, or whoever is curious enough to watch her. music to her is one way to connect with friends and family, to bring back memories that were associated with a certain song, and to even calm the soul. she continues to express her knowledge of certain artists and the history of some albums. some are surprised she picked modeling over becoming an idol.

lastly, she continues to show a cozy lifestyle with her low-lit images with coffee and a Ghibli movie. and with fall among us, as jihan says, it's the perfect opportunity for self-care and discover yourself this winter as you stay at home to find warmth.

[textual-deviant-blog]

How often does anyone do something with 'meaning'?

Ai generated work by me, titled: "The hands that feed you."

Earlier today, I was listening to the upbeat, lifting, somber, yet sometimes just plain depressing album BURN PYGAMALION!!! by The Scary Jokes. I somehow found myself comparing the music to another, much better known song, Rules of Nature by Jamie Christopherson- you know, the one from MGS?

I compared their depth- as in, the true meaning behind the song- and found Rules of Nature to be rather shallow. Even though, it's one of my favorite songs. Analyzing it more, it makes sense. Sure, not every lyric contributes something to the overarching 'narrative' it might be compelling, but it has emotion, and it has a beat. Both catch. Music doesn't need a real 'meaning' besides the one our ears attribute to it.

Even so, it makes you wonder. What if music artists as a whole began to give as much thought to the theme or narrative that The Scary Jokes does, despite their chaotic style? What if we applied this to other mediums?

Movies and TV shows are right out. Not because they don't, but because they already do to a major extent- I mean, story writing makes up a tiny sliver of the production budget, so it would make sense to get that right whenever possible as it's still something critical to the movie.

Art, meanwhile, is so individualistic it would be difficult to try to make a case for applying narrative to everything. There are subtleties, additions- always more to add, to give the piece it's own sort of environmental storytelling, but not every piece necessarily benefits from that. And that doesn't even touch how each piece of artwork could be interpreted in so many ways that gives it it's own depth by default.

So, with Novels being the default, I suppose this means that Music happens to be the only medium with this dilemma? It's perhaps to do with the reduction in the popularity of dance clubs and bars, which, as a result, reduced the amount of songs whose focus happened to be on making people dance, and instead just writing music that sounded good. Today's more 'zoomer' music can be considered almost unrecognizable if you compare them to songs from the 70's, even the 90's, such as FNF's soundtrack. Imagine attempting to dance on beat to music like that.

Another reason also comes to mind; the classic 'video stars vs. audio stars' conundrum. From Netflix to Steam, we've massively streamlined the process of watching movies and playing games, while, for much longer, we could listen to music on those same devices. The audio star is now much more inclined to make something marketable; usable in games, movies, and tv shows. That sometimes can be considered to be a song without vocals. Songs with an underlying 'meaning' become vastly harder to make without vocals, so far fewer even try. Due to the same reasons music artists have declined in net worth, software has become far easier to use than it is to actually sing.

'meaning' has lost focus in music because it's something that requires intent, when many just ride along. Focus has shifted from being interesting and steady enough to dance, into something far easier; just something that sounds good.

Music artists that continue to push narrative has become the minority rather than the majority, and we'll likely continue to see this trend as the years pass by. Perhaps another trend will join it, perhaps it will devolve, but most evidently, songs with 'meaning' will reduce in popularity as the older and older generations cease to be.

[captainpuffin1]

Yebba - Dawn

I discovered Yebba in the way that a lot of probably did, which was through some of her notable collars with well known artists, from Ed Sheeran (“Best Part of Me”), to Drake (“Yebba’s Heartbreak”). She tended to be a highlight of both the song and the album as a whole for me, so I went and checked out some of her music in order to see what her solo stuff was like. I ended up listening to her 2021 debut album “Dawn”, which ended up being a fantastic album.

Yebba manages to show herself as a fantastic writer on here. The main theme of the album is grief and recovery. A lot of the writing is influenced by Yebba’s grief caused by the death of her mother and how Yebba is trying to recover from that grief. The writing ends up laying the groundwork for a ton of emotionally charged songs that essentially see Yebba slowly move on from the grief she’s trapped in while other things in life keep getting thrown at her, like crumbling relationships, watching friends get into some horrific situations, and just trying to not let the grief fully take over her every move. Just about every song on here manages to be fantastic because of just the writing on it alone, and it’s impressive to see Yebba show herself as this good of a writer at this early part of her career.

The production on this album was mainly done by Mark Ronson, so it’s not too much of a shock that the production on here is great. Mark is fantastic when it comes to creating the type of Soul music that takes influence from older sounds and combining it with a modern sound (Hell, just look at his contributions to Amy Winehouse’s music). This album takes some of it’s influence from the 90s and 2000s Neo-Soul sound (Hell, her love for D’Angelo’s album “Voodoo” helped lead to some of the musicians involved with that album like Questlove and James Posyer being involved with this album too.), and in the usual Mark Ronson fashion, is able to create an album that manages to sound just as beautiful and intricate as the albums it was inspired from. However, Mark isn’t the only producer on here. Other people like Yebba herself, Ricky Damien, and Thomas Brenneck also take the production helm on a good chunk of the album alongside Mark, and the song “Love Came Down” also features production from producers like KAYTRANADA and Hudson Mohawke, who help make the song lighten up the mood of what’s mostly a pretty depressing album. Every producer on here manages to do a spectacular job creating this album and perfectly fit next to Yebba’s unique take on Neo-Soul.

The two vocal guests on here are also really good. A$AP Rocky has a great verse on the stellar track “Far Away”, and Smino has a decent verse on the song “Louie Bag”

Yebba’s debut album “Dawn” both makes for a great first impression of her music, plus it shows Yebba fully come into her own with some fantastic writing and amazing production that pays homage to the golden days of Neo-Soul, along with some fantastic vocal performances from Yebba and guests. If you want to check out some insanely underrated Neo-Soul, then give “Dawn” a listen.

BEST: One More Smile, Distance, Far Away (feat. A$AP Rocky), Stand, How Many Years, Boomerang, Paranoia Purple, October Sky

WORST: N/A

10/10

[potsmart]

A Fresh, Less Predictable List of What to Watch While Stoned

The secret is out. Everyone knows I’m a huge stoner, a wake and bake, never leaves home without his herb, you will know me by the sound of my cough type of everyday pothead. In the same way that every Christmas inevitably a family member will get me a tie dye shirt that says “Freshly Baked” or something similar, gormandizers of good ganja are suggested the same few things to watch online while high. It’s cool, everyone loves Chong man, but you can only watch Up In Smoke so many times. (Once.) Make sure you’ve gone to the HoJo and picked up a bunch of munchies because here is a list of suggestions of things to watch after you get unreasonably high.

Grab yourself some weed here and get ready to zone out…

FRINGE SPORTS:

Mountain of Hell

Total chaos on mountain bikes in the Alps is what this delivers. This race starts with over 1,000 riders at the top of a mountain in the alps and ends at the bottom. There are very few trails and riders start in the snow on what would be more appropriate to ski down. Get blazed and watch the whole race as this guy passes 1,000 people. This race is great to watch high because there are plenty of thrills mixed in with the incredible landscape of the Alps.

Bodysurfin’ The Movie

Unlike its sexy cousin surfing, body surfing has never been cool or marketable. Don’t tell that to David Schwepps, hit star of the incredible Bodysurfin’ The Movie. Get ready for weird skits, a completely made up lingo and bag of tricks with creamy slow-mo shots of Aussies bodysurfing. Sports like bodysurfing are almost like a dance since there are no real objectives other than staying in the wave and having a great time.

Rollerman

I’m not really sure if this guy is an innovator or just a weirdo, but he’s been using a suit full of rollerblade wheels to bomb down formidable hills and weave through traffic for what seems like two decades now. You got to give it to a guy who keeps on keeping on with a sport he invented

LIVE MUSIC:

Getting blazed can really help you centre your mind in a specific moment and enjoy art on a deeper level. Pull up your favourite artist live or acoustic and see what they sound like if you’ve never seen them in person. Even if you aren’t a musician there is so much wonderful information to be pulled from watching artists work. Here are some amazing artists I like to put on in the background as audio visual flavour for me session:

Dosh

Dosh is a true one man band, playing a looping everything, but not to be lumped in with the general cringy and gimmicky loop musicians that are a dime a dozen. Probably his biggest claim to fame is being part of the rhythm section for Andrew Bird. In fact much of what I enjoy about Andrew Bird is contributed by Dosh. He’s just a stunning drummer, keyboardist etc.

Against the Clock

This is a series where electronic artists are given 10 minutes to create a song. If you’re into electronic music this is a gem. If not, it may help guide you towards appreciation as it focuses on process, gear and creation in a very concrete way. Check out this episode here:

PROCESS VIDEOS:

Pencils etc.

A lot of us have a childlike fascination for how things are made. If you don’t have one, maybe it’s time to consider fostering one. A lot of people find videos on the process of making something to be relaxing.  Sure you could watch Rick n Morty while baked, but don’t you want to learn how a pencil is made?

Hot Sauce

Did you know Tabasco Sauce takes 3 years to ferment? Stop lying, of course you didn’t. Learn that and more in the classic “How It’s Made” episode on hot sauce. How It’s Made is a great show to watch while stoned in general. Mark Tewksbury is every Canadian’s wholesome dad. How could you not want to sit and listen to him explain how rainbow sprinkles or Twinkies are made.

There you have it, not a single Cheech n Chong movie, no That 70’s Show (classic), no Bob Marley (listen I love Bobby, but this is a “refreshing” list my fellow stereotype), but still generally interesting stuff to watch. Stay safe and order weed in. Both your mom and Mark Tewksbury are worried about you.

Buy some weed bro.

By Richard “Dick” Weed, Ganja Guru and Guest Contributor for Potsmart

[my-music-1460]

A Day in the Life of KK: An Imagined Tribute

What would it have been like to spend a day in the life of KK, the beloved playback singer who captured millions of hearts? Known for his down-to-earth persona and unparalleled voice, KK balanced a thriving career with a passion for simplicity. His music spoke directly to the soul, and his dedication to his craft was evident in every note. By imagining a day in his life, we can appreciate how KK's artistry and lifestyle contributed to his legendary status. This tribute celebrates KK not just as a singer but as a passionate artist who lived for music and the people who cherished it.

1. Morning: Quiet Beginnings with Music

The day likely began early for KK, with a peaceful morning routine that set the tone for the hours ahead. A cup of tea or coffee in hand, KK might have enjoyed some time with his family, cherishing the balance between personal and professional life. Unlike the hustle and bustle of the entertainment world, KK valued a calm start to his day, using this time to reflect, practice, or prepare for the day’s recordings.

Warm-up exercises for his voice would have been a staple in his mornings. KK’s dedication to vocal health was evident in the clarity and richness of his singing. Singing wasn’t just a job for KK; it was a calling, and every morning routine reflected his unwavering commitment to excellence.

2. Recording Sessions: The Magic of Creativity

As the day progressed, KK would head to the recording studio. Here, the magic happened. With his signature humility, he collaborated with music directors, lyricists, and sound engineers to bring their visions to life. KK’s ability to interpret the emotions behind every lyric set him apart. Whether it was a romantic ballad, a melancholic melody, or an energetic dance track, KK infused every song with authenticity.

In the studio, KK was known for his perfectionism. He would rehearse lines repeatedly until every word carried the weight it deserved. For KK, the process was not just about hitting the right notes but also about capturing the essence of the song’s emotion.

3. Connecting with Fans: A Day of Gratitude

Despite his stardom, KK never lost touch with his fans. On a typical day, he might interact with admirers through social media, live events, or interviews. KK often expressed gratitude for the love and support he received. His fans were not just listeners; they were an integral part of his journey.

Fan interactions were not just about acknowledgment but about building genuine connections. KK’s humility shone through as he listened to stories of how his songs had impacted lives. These interactions fueled his passion for creating music that resonated deeply with people across all walks of life.

4. Live Performances: The Thrill of the Stage

When not in the studio, KK often performed live, captivating audiences with his electrifying energy and soulful voice. Whether it was a small college fest or a grand concert, KK treated every performance with the same level of enthusiasm and respect.

Preparation for live shows was meticulous. Rehearsals ensured every note and transition flowed seamlessly. KK’s ability to engage the crowd and make them feel part of the performance was unparalleled. On stage, he transformed into a powerhouse, channeling raw emotion into every song.

5. Family Time: The Man Behind the Music

KK’s evenings were likely reserved for the people closest to him—his family. Despite his fame, KK always made time for his loved ones. This balance was essential for him, grounding him amidst the chaos of the entertainment industry. He valued simple joys, whether it was sharing a meal, watching a movie, or just relaxing at home.

His love for his family reflected in the way he spoke about them in interviews. KK often credited his family for his success, acknowledging their unwavering support.

6. Nighttime Reflections: Gratitude and Growth

As the day came to an end, KK might have spent time reflecting on his achievements, challenges, and aspirations. Gratitude was a cornerstone of his life, and he carried it into every aspect of his journey.

Nighttime for KK could also involve exploring new music, seeking inspiration, or practicing his craft. Even as a seasoned artist, KK never stopped learning. His humility and willingness to evolve kept his music fresh and relevant.

Conclusion Through this imagined day, we glimpse the life of KK, a humble, passionate, and inspiring artist who left an indelible mark on the music industry. His dedication to music and his ability to connect with people on a deeply emotional level made him a legend. KK was not just a singer; he was a storyteller whose melodies continue to resonate with millions. His life reminds us that greatness comes not only from talent but also from passion, humility, and gratitude.

[eventseeker789]

Oakland Harmony: Your Guide to the City’s Best Musicians and Bands

David Benoit

David Benoit is a distinguished American jazz pianist and composer celebrated for his contributions to smooth jazz and contemporary instrumental music. Throughout his prolific career, Benoit has established himself as a leading figure in the jazz world, known for his elegant piano work and engaging compositions.

Benoit’s journey in music began in the 1970s, but it was his 1987 album, Every Step of the Way, that brought him widespread acclaim. This album, featuring a blend of smooth jazz and traditional elements, showcased his exceptional ability to craft memorable melodies and sophisticated arrangements. His signature sound combines intricate piano passages with rich harmonies, creating a soothing yet vibrant listening experience.

Throughout his career, David Benoit has released numerous successful albums, including Waiting for Spring (1991) and Fountains of Youth (1998). His music often incorporates influences from classical, jazz, and contemporary genres, reflecting his versatility and artistic vision. Benoit’s compositions frequently feature lush orchestrations and a deep sense of emotional expression, resonating with a broad audience.

In addition to his solo work, Benoit has collaborated with a variety of renowned artists and contributed to numerous projects in the jazz and pop music realms. His live performances are known for their warmth and intimacy, allowing audiences to experience the full range of his musical talents.

David Benoit’s enduring impact on jazz music is marked by his ability to blend technical proficiency with heartfelt artistry. His contributions continue to influence and inspire both aspiring musicians and seasoned jazz enthusiasts around the world.

David Benoit tour dates have been announced and residents of Oakland can watch him perform live at Yoshi's on August 12, 2024.

Jessie J

Jessie J is a British singer-songwriter known for her powerful vocals and eclectic blend of pop, R&B, and soul. Emerging onto the music scene in the early 2010s, she quickly gained recognition with her debut single, "Do It Like a Dude," which showcased her bold, confident style and vocal prowess.

Her debut album, Who You Are (2011), was met with critical acclaim and commercial success, featuring hits like "Price Tag" and "Nobody's Perfect." The album's blend of catchy pop hooks and introspective lyrics established Jessie J as a versatile and innovative artist. Her follow-up albums, including Alive (2013) and R.O.S.E. (2018), continued to highlight her growth as a performer and songwriter, each project bringing a unique flavor to her musical repertoire.

Jessie J is known for her impressive vocal range and energetic stage presence. Her live performances are celebrated for their intensity and emotional depth, engaging audiences with both her charismatic personality and musical talent. In addition to her solo work, Jessie J has also been a prominent figure on various music competition shows, including serving as a coach on "The Voice UK."

Throughout her career, Jessie J has received numerous awards and accolades, including Brit Awards and MTV Music Awards, reflecting her impact on the global music landscape. Her ability to blend different musical styles with her distinctive voice ensures that she remains a prominent and influential figure in contemporary music.

Oakland’s famed music venue Yoshi’s plays host to the anticipated Jessie J tour 2024 on September 11, 2024.

Author Name Yohann Pereira

[ear-worthy]

A New Tide To Lift Indie Podcasts - Lenny.fm

Monetization is the Holy Grail for podcasts, especially independent podcasts, since they are mostly self-funded. Monetization for indie podcasts often comes through a company like Patreon where listeners can donate or through a subscription model, although that model is usually not viable for "indies."

Some of the best independent podcasts that need listener funding -- and deserve listener financial support -- include The Life Shift, Multispective, Surfing Corporate, Leverage Your Podcast, Murder Sheet, Impostrix, Verbal Diorama, Seraphina Speaks, Bippity Boppity Business, and Watching The Covers Flow.

 These are all superb indie podcasts that need listener support to survive and grow. Recently, an Australian company -- Nealry Media pty Ltd -- better known as Lenny.fm has proposed a new podcast monetization strategy that helps podcasters and listeners.

Here's their marketing pitch: "Your podcasts walk with you, talk with you, shown up for you in the podcast app — they do the show for you."

"Lenny.fm is a new way to support the people you spend so much time with. And to help them spend more time with you," says Courtney Carthy of Lenny.fm.

"It’s built for the podcast ecosystem, for podcast fans and podcast creators," Courtney continues. "For listeners, you can support the great work of the podcasts you enjoy listening to. A little makes a lot of difference."

"For podcast creators." Courtney adds. "If you want to monetize, Lenny.fm is one of many great options. Why not have more than one?"

Courtney Carthy, part of the founding team, says the concept came from his experience running a podcast production company and working in the music industry.

"We want to get creators to get rewarded for their work by people who value it, and help drive an overall increase in listeners supporting podcast creators, no matter which platform they choose to use. Lenny.fm works for almost any podcast, and works best for podcasts that are ongoing that have a constant presence with their audience. It’s incredibly meaningful as a creator when you find out someone has financially contributed to your work."

“Working in the music industry, I saw artists immediately turn on revenue streams — merch, touring, sales, licensing — because it works. Many podcasts might have one revenue stream or live in hope that something will come along," Courtney explains.

Courtney adds: “Lenny.fm can be a rising tide that lifts all podcasts.”

How Lenny.fm works

Listeners choose 4 or more podcasts to support in order of preference

Listeners contribute US$4 a month, which is split between the top 4 podcasts they chose.

If a podcast in their top 4 doesn’t publish an episode that month, the preferences reorder to 4 that have.

The podcast can choose how best to reward listeners supporting them via Lenny.fm, if they choose to.

Courtney Carthy explains and answers questions.

A lot of the feedback has assumed Lenny.fm wants to be the only way podcasts monetize. We want it to be an effective part of several revenue streams, or we want it to be effective for podcasts that find it to be the best one for them.

Lenny is just another one that works pretty well for listeners and creators.

We think Lenny is going to best work with independent or network podcasts, or those that don't have advertising. Which is a few. And maybe 1% of listeners who listen to more than 6 podcasts a week (about 23% according to an Edison report). So, less than 1% of global listeners is our early goal.

How podcast creators can get their audience involved.

This is covered in the creator onboarding, which at the moment is fairly manual other than medium articles and an email sequence we're updating constantly with feedback.

The short answer is, let your audience know they can support your podcast and others they appreciate via Lenny.fm. 

Whether that's a link or a mention on the podcast, up to the creator.

Ideally, Lenny is mentioned like a social account "Follow us on [social media channel] and support our work via Lenny.fm"

What happens when listeners want to support a podcast that isn’t signed up. Where does that money go?

The money is held while we track down the creators to let them know. The creators can then request it or let it accumulate (which minimizes the share of the support spent in transaction fees) or opt for a routine transaction.

This has already been a long term project for me. Something I started properly thinking about in 2018, a year after I started Nearly Media. It crystallized in 2020 and through covid, work, and having three children it's taken some time to get where we are now.

I've committed myself to building Lenny for at least five years so it becomes a recognized and trusted brand that offers one or more ways for creators to get paid. It's never going to be for everyone, but there's a niche there where this current product can work well for both creators and listeners.

Lenny is designed to not get in the way of other revenue streams podcast creators want to use, and offer an easy option to as many as are interested.

Why $4 a month

$4 was chosen after doing some basic modeling to find a number that would be approximately equal to or more than CPM rates for podcasts, an audience conversion rate between 1 and 5%. 

This was done in USD as that's where the largest market is.

Why can’t I share $40 a month?

Having fixed contribution is only for version1.0. I'm keen to open it up to any amount when we can do that work.

Halt to subscription revenue if not publishing and series-driven and audio-fiction podcasts.

I get this, having produced numerous podcast series and been responsible for recouping the production costs.

For these formats and publishing schedules, I'd recommend creators find a revenue stream that's most effective. Lenny.fm might not be it. But it doesn't hurt to have a few ways going on in parallel.

What works with Lenny is that when the series starts publishing again, the support starts again. Supporters are likely to have not changed their preferences for who to support in what order, so the production can expect to get an amount of money based on previous support. Happy to go into how the preferences work and how they move around - pick 1 to 4 or more, Lenny remembers those preferences and allocates money according to a simple formula based on preference and publishing.

Creators can get around this by publishing anything on the RSS feed over the month to continue receiving revenue.

Yes. You probably don’t have only one social media account, so why not have more than one way to get contributions for your work? Musicians are a great example. They make money from touring, streaming (sort of), album sales, merch, royalties, sync deals and more. Podcast creators shouldn’t be limited!

How do I get paid supporters?

Let them know on any of your channels — podcast, socials, newsletter, website. Add the Lenny.fm URL or your share link URL everywhere and make a habit of mentioning that people can support your show on Lenny.fm.

Do you have to start an account as a creator?

No, but do create an account. You’re much more likely to get supporters if you tell your audience. But we’ll notify the email address on your show’s RSS feed when a listener has started contributing to that podcast.

How do pay-outs work?

Start a Stripe or PayPal account, and we’ll get it to you when you request it. Check your balance anytime in your Lenny account page.

Who’s behind all this?

Audio producer Courtney Carthy and three business partners who know how to build software, play music and listen to podcasts.

Lenny.fm can help your favorite indie podcast continue to provide the type of content listeners like you enjoy.

[potatoes83]

Random...

And another one. Dammit. Shades of:

Detroit had a classical station for years, so did Windsor. I used to fall asleep at night listening to that shit. And I mean, they were commercial stations, but they had to be pretty low wattage, you had to hunt out just the right spot on the dial, after dark, and we were not at all far from wherever they were broadcasting from. The last one in the market went belly up in 1997.

From 1997 to 2005, there was no classical music in Detroit. Then WRCJ came along, public radio, a venture of the Detroit Public Schools, who owned the station, and Detroit Public Television. And for all these years since, classical music has been on the air.

I am a monthly sustaining member. Have been for some time. I am more than willing to shell out for a cause I believe in. And this is something I love so very much... But I don't know if I can ethically continue my support. Not if this is the path they choose to take. And a caveat that I shouldn't even have to type, this is not "I hate the gays". So many people see a thought like this, put two and two together, and come up with banana pudding. This. Is. Not. That. This is "I hate lazy racism".

Let me explain that. "...the musical community is brimming with talented queer artists of all sorts". Yes. Yes it is. It is also brimming with straight ones. And white ones. And black ones. Male and female. Bet there's some Chinese ones too. Catholic? Jewish? Isn't it fun to separate people by arbitrary characteristics? And yes, there is in fact a time and place for that... Boys sports, for example. Helps with the whole broken bones and concussions of sporting girls thing.

But in music? The musical community is brimming with talented artists of all sorts, there, fixed it for ya. I mean, I don't think you're gonna be sitting there watching Andre Rieu come out on stage going "oh good, I got the straight white one, this is gonna be a good show".

It's the sexual equivalent of lazy racism, that's that I mean, taking one of the most boring and frankly irrelevant aspects of what would normally be a dynamic, talented, and unique individual, and using it to define them as an artist, or a person generally. All Russians drink vodka and wear mink hats. All Irish are potato farming alcoholics. Everyone from the South is an inbred hick... Hey, what can you tell me about this artist? Oh, well, he's queer...

Not... a violin virtuoso? Not someone who can make that instrument sound like the voice of God? Not someone who was THE definitive soloist of whatever composition because of the way they made the strings sing? Not somebody who donates their time to teach music in inner-city schools, reads to the elderly in nursing homes, is an avid gardener and beekeeper, raises tropical fish, enjoys white wine and long walks on the beach? None of that, the only characteristic of note is that he likes the dick? Nothing even as individual as that, he's one of those people who likes the dick, a mere part of a group, remember, first and foremost always. The LGBTQIA+ COMMUNITY is creative... Not individuals within it, nope, the whole damn thing. One amorphous, nameless blob. And not to belabor a tired point, but if I went ahead and said "This month, we celebrate the contributions of STRAIGHT, WHITE MEN", mmm... yeah. We'll just leave that one on the windowsill to cool off.

Nevermind the fact that they put this level of shameless "watch how quick we stop giving a shit July 1" pandering out on D-day... You know, the start of a military offensive that turned the tide of world war II, killing 10,000+ American and British soldiers the first day??? But no, please, tell me more about the alphabet soup group; it's been ever so quiet about them these last six days.

This one sucks... It really does, you can't wholly avoid woke, it's just not possible. Some of your money is going to end up in the hands of people or causes you hate, or at the very least, do not agree with. A dollar goes into the collection plate at Church to fight for life, a dollar of my union dues funds a far-left career politician who is fighting for unrestricted abortion... But is this messaging, this shortsightedness, this shameless and transparent promotion of the Thing of the Moment, something I want to support financially? Something so disingenuous, when there are so many honest things that could be better served with my money?

I know in my heart that the answer is no. Even when it hurts so much to let it go. 🥔