#love the original song. finding out there was a live performance with another singer-songwriter i adore was like. a meeting of the minds

[mountalodiel]

beautiful world

[weneverlearn]

Mary Weiss, me; outside Magnetic Field, Brooklyn, 2008 (photographer unknown)

Mary Weiss, R.I.P.

It was 2005, and I'd lived in NYC for less than a year. I somehow finagled my way into a listening party for the incredible new Rhino Records box set, One Kiss Can Lead to Another: Girl Group Sounds Lost & Found. It was at some small event space in midtown, I don't remember what it was called. Cool joint though...

I felt a bit overwhelmed in this packed room of esteemed scenesters, aging industry big wigs, and the incredible original performers from the box set they were able to round up and sing a few songs.

Luckily the ever-fun couple of Miriam Linna and Billy Miller (Norton Records) were there, scanning the room with eyes as wide as anyone's, and the two introduced me to a few heps, like Richard Gottehrer -- the amazing producer/songwriter who sprung form the Brill Building and ultimately produced some of my faves, like Richard Hell, the Go-Gos, and Marshall Crenshaw, among many.

Then I saw Sune Rose Wagner, singer/guitarist of the Raveonettes, one of my newer faves of the moment, and he was crying. I'd interviewed him over the phone a couple years earlier for a Cleveland mag, so I re-introduced myself and asked what was wrong. We hugged. He said that earlier in the week they'd played and had all of their instruments stolen afterwards, and he was so distraught he was thinking about quitting music. I told him no way, maybe they'll find the stuff, etc... He kind of perked up, and then once the women started singing with a live band, his teary eyes started shining from the glow of the stage taking over the pretty dark room. These women -- and I can't remember which acts they came from, but they were all on the box set -- were resplendent in glittering dresses, hair done big, and smiles wider than 5th Avenue.

I saw Billy and Miriam again, and they were chatting with Mary Weiss lead vox/face of the Shangri-Las -- arguably one of the top three acts of the whole mid-60s "girl group" scene. I was introduced quickly, but I let them get at their convo as I assumed the Norton nabobs knew Mary from way back.

However, Billy comes up to me later and tells me he had never met her before, that she was his first female musical star crush, and he absolutely sounded like a 16-year old trying to cram his melting heart back into his chest. I was pretty floored myself -- I always loved the Shangri-Las from first hearing them slip out of oldies stations growing up to when I first started diving into girl group sounds as a record-amasing teen. They, the Ronettes, and Darlene Love were the cream of the dreamy crop in my book.

The whole night was not unlike making your way through a Shangri-Las compilation: every emotion possible heaving up and down, surrounded by sounds lilting, swelling, crumbling, but always with that Big Beat bubbling, ready to shove you out of the sadness...

After the news of Mary Weiss' sad passing yesterday, of course many acknowledged her teen stardom of the mid-60s; the influence of the Shangri-Las' street-tough image and emotions on the New York Dolls (who used Shangri-Las producer, Shadow Morton, for their second album) and much of the early new wave of the mid-70s; the respect of her keeping a singing career going through the years, and the glorious third act she had in the late 2000s with the help of Norton Records and the great album, Dangerous Game, where Weiss, in excellent voice, was backed by the rulers of garage pop of that era, the Reigning Sound.

No, it wasn't some top 10 album, but it just oozed with a kind of vintage-to-ever cool that is so rarely captured in a "comeback." (And it definitely got her press and new young fans.)

In fact I think that album, and especially that incredible Rhino box set, brought back that '60s malt shop-meets-back-alley girl group ouvre to a whole new generation.

This was not front page news. Nevertheless loads of acts like King Khan & BBQ, Peach Kelli Pop, Shannon & the Clams, Hunx and His Punx, the Vivian Girls, Baby Shakes, Black Lips, A Giant Dog, and even the re-emergence of Nikki Corvette and Ronnie Spector to the stage brought the cloud-bound reverb and scruffy riffs of vintage girl groups back to prominence in the underground garage rock scene. And again, due to their sounds and looks, the Shangri-Las and the Ronettes were the template.

It has since dawned on me many times that Mary Weiss -- and the Shangri-Las as a whole -- have a nearly singular place in R'n'R history. Considering the admittedly limited catalog of songs, their outsized influence has spread from radio hits in the '60s to the underground proto-punk not ten years later; to the CBGB scene; early '80s new wave and power pop shadow-pep (like Blondie, Go-Gos, and many more); Aerosmith covered "(Remember) Walking in the Sand," and others of the big coif/high dramatics of hair metal had some Shangri-Las DNA in the hair spray; from transgressive filmmakers like John Waters to drag queen blueprints; to 2000s female neo-soul hitmakers -- arising at the same time as the aforementioned garage pop underbelly -- and even up to the recent talk/sing busted romance stylings of mega-popsters like Taylor Swift.

I saw Weiss at a couple shows over the next year or so. She was always so excited and grateful for all the accolades and thanks people laid on her. She played a remarkable show in Brooklyn that Lee Greenfeld booked, at the Atlantic Antic street fest in September, 2007 -- right outside Greenfeld's madly-missed club, Magnetic Field. We felt the Antic gig would be the first of many, but there were just a few more local gigs, if memory serves.

Somewhere in 2008, at an A-Bones / Yo La Tengo show at Magnetic Field, I chatted with Weiss for a bit afterwards. I can't express enough how inspiring was her love of music and hanging out at a small bar with a bunch of music obsessives knocking back cheap beers. At the 1 a.m. chime, she kissed my cheek, I laid one on her's, I walked home, and I will assume that if there is a Heaven, that moment should get me into the meetings where they discuss how to improve Heaven. It's a cinch it's improved today.

Variety obituary here.

From obituary:

The group’s tough-but-vulnerable New York City teen image was genuine. “Overall, the girl groups had very sweet images, except for the Ronettes and the Shangri-Las, who had a tougher, harder attitude,” Greenwich told the website Spectropop in an undated interview. “By today’s standards, they were as innocent as the day is long. Back then, they seemed to have a street toughness, but with a lot of vulnerability. Mary Weiss [had] the sweetest long straight hair, an angelic face, and then this nasal voice comes out, and this attitude — the best of both worlds.

“In the beginning, we did not get along,” she continued. “They were kind of crude, with their gestures and language and chewing gum and the stockings ripped up their leg. We would say, ‘Not nice, you must be ladies,’ and they would say, ‘We don’t want to be ladies.'”

From Chapter 33 of The Downtown Pop Underground — order online, or from a local independent bookstore

THE SHANGRI-LAS’ INFLUENCE ON PUNK LOCATION Brill Building The Shangri-Las were one of the common musical denominators that Blondie shared, and Clem Burke explained the Shangri-La’s proto-punk appeal: “They had their black leather vests and their tight black leather pants, and they sang ‘Give Him a Great Big Kiss.’ They sang about dirty fingernails, wavy hair, and leather jackets, and things like that.” The Shangri-Las cast a long shadow over glam and punk rock. The New York Dolls’ “Looking for a Kiss” borrowed the spoken word intro from their “Give Him a Great Big Kiss,” and another Dolls song, “Trash,” copped the campy “How do you call your lover boy?” line from “Love Is Strange,” a catchy 1956 hit by Mickey & Sylvia. The group’s final album, Too Much Too Soon, was produced by Shadow Morton, who had crafted the girl group classics “Leader of the Pack” and “Remember (Walking in the Sand)” for the Shangri-Las. As Burke recalled, “Bubblegum rock was part of the roots of the New York music scene. Some of the old-school guys like Richard Gottehrer or Marty Thau—who had some money and success in pop music—they understood the music because they were coming from that Brill Building mentality.” Thau was the New York Dolls’ first manager before McLaren took the job, and he had previously made a living as a record promoter for late 1960s bubblegum groups the 1910 Fruitgum Company (“Simon Says”) and the Ohio Express (“Yummy Yummy Yummy”). Thau recorded the Ramones’ first demos and released Suicide’s debut album on his independent label Red Star, and also formed the production company Instant Records with the old-school industry hit maker Richard Gottehrer. “Richie was part of that whole Brill Building rock thing,” Leon said, “which had a lot of nostalgia for us because we grew up with it on the radio when we were kids.”

[hummingbee-lievable]

Song of the Day #16:

'Steady Rolling' by Diana DeMuth (released 2020).

And every day is just another town

The more I search, you know the less I've found

Me I’m a sucker just a slave to sound

And it's coming and I'm still running

Track #5 on 'Misadventure'. The original version of this song was performed by Two Gallants (2005).

Fun fact: (This song was released a day after my birthday! That's not the real fun fact, but it is kind of fun.) Diana DeMuth began writing songs at the age of eleven. On a whim on a layover in Colorado, she auditioned for X Factor (USA) and made it the 30th round before deciding that the show's style didn't mesh with her personality.*

Personal blurb: I found this song during Quarantine (don't ask me how, sometimes there is a need and the ether delivers. Or the algorithm does, anyway). At the time, I was living with this lovely lady, whom I still get to see if I drive through Texas. (Ever get the hankering to get on the road and just keep driving?) When she was having a bad day, she would go play pool. I think of her every time I hear this song because of the lines:

You might've have seen me 'neath the pool hall lights

Well baby I go back each night

The lyrics fill me with such nomadic desperation. I tend to wander from place to place, always imagining that a sense of home is just around the bend. But like the line from 'Newsies' (which I admittedly have not seen or listened to; a friend shared this line with me):

When you go somewhere and it turns out to be the wrong place, you can always go somewhere else. But if you are running away, Jack, nowhere is ever the right place.

It also makes me think of the lyrics from Florence and the Machine's 'Free':

I'm always running from something

I push it back, but it keeps on coming

And being clever never got me very far

Because it's all in my head

It is interesting to note that, according to psychology research, people with PTSD tend to wander a lot more. I kind of like it though. How else can I absorb all that life has to offer if I'm sitting still? There's running, but it's not always away. More like running for the sake of running. Added bonus if it's in the rain.

I know I'll find a home eventually. But for now, truly, my sense of home is everywhere I go. It feels less like I'm running and more like I'm going around a buffet, trying every flavour while I can. Why wait for retirement? Who knows what my body will be capable of, then.

How do you run?

P.S. Hiiii Smalls. Why did the pirate cut off his right hand? 😋

*Reference:

[moochilatv]

Sam Blacky x Niniola presents: Ronaldinho

Electronic metts soccer

Sam Blacky Joins Forces With Acclaimed Grammy-nominated Nigerian Singer-Songwriter Niniola On Inspiring Vocal Afro-House Single "Ronaldinho." Out Now on Easier Said

Powerhouse LA-based DJ/producer Sam Blacky partners with Grammy-nominated African singer-songwriter hailing from Nigeria, Niniola, for their new single "Ronaldinho," which celebrates the former's love for afro house and the latter's Nigerian history in a dynamic, soulful sonic journey. Sam has long loved pushing the boundaries of dance music and breaking music genres' molds, and over the past few years, it's become apparent that her true passion lies in creating globally-inspired, dance-worthy records. "Ronaldinho" is a shining example of this with its undulating, deep basslines, percussive instrumentals, and ethereal melodies courtesy of Sam, while Niniola's shining vocals truly turn the song into a spiritual listening experience. With the summer festival season just heating up, "Ronaldinho" is about to be heard on the beach, the festival stage, and the club dance floors around the world. The track is out now on Easier Said, which finds Sam exercising her artistic freedom by once again joining a formidable roster of forward-thinking artists such as Barclay Crenshaw, Life on Planets, Maya Jane Coles, Party Pupils, and Todd Terry.

"As the years have passed, my passion has become more and more integrated with what we know as afro house. When the opportunity came up to work with one of the original, most iconic singers in that realm, all the way from Nigeria, there was no question. I heard what Niniola had done with the vocals for Ronaldinho and knew I had to make this song with her. Having someone who is such an amazing storyteller, with such an incredible voice, who has lived this life through and through brings an entirely different message and meaning to the music." - Sam Blacky

Sam Blacky's forthcoming dates:

May 26 - Brooklyn, NY - We Belong Here Jun 05 - Los Angeles, CA - Academy LA Jun 08 - Montréal, QC - New City Gas Jun 22 - San Diego, CA - Horizon Music Festival Jun 23 - Long Beach, CA - Day Trip Festival Jul 06 - Kristiansand, NO - Palmesus Festival

Niniola

Niniola participated in several social activities and competitions. She finished third runner-up in the sixth season of Project Fame West Africa. Niniola released her debut single - "Ibadi," on 19 March 2014. The song received positive reviews, topped national music charts, and gained extensive airplay. Her singles "Ibadi" and "Gbowode" were included in the soundtrack for season 2 of "Gidi Up." Niniola was nominated in the Most Promising Act to Watch category at the 2015 Nigeria Entertainment Awards. In 2017, Niniola went on to release another single titled "Maradona," which went on to become a global hit. "Maradona" enjoyed a good 13 weeks on the South African charts and was at the No.1 spot for over 6 weeks. It also earned Niniola a BET Awards and SAMA nominations. Since then, Niniola has gone on to receive nods from international heavyweights like Drake, Timbaland, and others. In 2019, elements of the single were sampled on "The Lion King: The Gift Album" by Beyoncé on the track "Find Your Way Back," where she also appeared as a songwriter and composer of the song, which has gone on to get Niniola a Grammy nomination. In April 2020 and later in June 2021, she received her 1st, 2nd Grammy nomination certificate for her work as a composer. In June 2021, she's got inducted into the Grammy Recording Academy Class of 2021. In July 2021, Niniola's single, "Maradona" was certified gold in South Africa by the Recording Industry of South Africa RISA.

Sam Blacky is a multitalented DJ, Producer, and Cultural Icon from San Diego, USA. She spent several years in Australia, where she first fell in love with producing music and performing live. Since moving back to the US, music, performing, and fashion have taken a front seat in her life. Performing since 2017, she's graced the stages from Mexico to Ibiza, Bali to Europe, and some of the world's premier electronic music festivals and clubs.

Since her first self-released EP in 2021, Sam has released on esteemed labels such as Repopulate Mars, Terms & Conditions, Easier Said, Thrive Music, and Hood Politics. Her standout remix of "Gaslight" for Grammy-nominated Inji was a viral sensation. Sam's signature style of blending Afro-House, Latin House, and everything in between is connecting with global audiences and has earned her the coveted 1001 Tracklists' "Future of Dance" producer list two years in a row. Her latest release - "Amor," was remixed by Brazilian producer Illusionize and cemented her place worldwide as a one to watch.

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[greensparty]

Concert Review: Sting

September 7, 2023 @ MGM Music Hall Fenway (Boston, MA)

In the history of rock music, I don't think there's any musician that can boost the listener's intelligence just by listening to them (or at least make the listener FEEL more intelligent) than Sting. Ok maybe Rush, but Sting both as a solo artist, with The Police and his numerous collaborations is truly a lyrical genius and you find yourself thinking a bit about the analogies and references he's making in ways you might not with just any artist, i.e. I'm not sure how many other artists made reference to Krushchev or Nabakov on Top 40 radio! The brilliance in Sting's lyrics is that he is taking these really big philosophical ideas and fitting them into melodies that are accessible enough for the masses. Musically, Sting is pure genius too. Bursting out of the London rock scene in the late 70s, The Police set the world on fire. They were truly bigger than the sum of their parts. Sting was the main songwriter, singer and bassist. For a group that incorporated various genres including punk, reggae, pop, new wave, jazz, and rock it takes a certain level of musicianship to excel at all of those sounds. Over the Summer I got to see former Police guitarist Andy Summers and I was blown away by the pure musicianship and reminded of how The Police were one of the great trios in history. Now I got to see Sting for the first time on his My Songs tour at MGM Music Hall Fenway, a venue that still has that "new car smell" about a year after opening.

Sting onstage

I never got to see The Police as I was too young to go to concerts in the early 80s and I'm kind of kicking myself for not going to The Police reunion tour in 2007. For one reason or another I've never gotten to see Sting live until now. I'm by no means the biggest Sting fan, but I've always had the utmost respect for him as an artist. 1991's The Soul Cages was one of the first CDs I got when I first got a CD player. Through this blog I've gotten the chance to review his 2021 compilation Duets and The Bridge, his most recent studio album. His solo work is often times in the shadow of his work with The Police and in the case of this concert, 7 of the 20 songs were Police songs. But seriously - do not underestimate his solo work. With the exception of one song from The Bridge, every song he played was from the 70s, 80s and 90s, which is playing the hits for the casual fans as well as the hardcore fans. Personally I kind of wanted for him to play "I Can't Stop Thinking About You", which was one of my Best Songs of 2016. Maybe next time!

Sting and the band rocking out

The entire band and backup singers were tight and Sting came out strong with "Message in a Bottle", one of my favorite Police songs. Among the highlights of this show was his between-song banter believe it or not. He addressed the shows he's played in Boston over the years starting with The Rat in 1978 (side note: one of the interviewees in my documentary Life on the V: The Story of V66 was Ralph Fatello who talked about how The Police played their first Boston show at The Rat opening for his band Vinny, that is featured on an extra feature on the DVD), the Paradise, the Orpheum, Fenway Park and more. He also had something interesting to say about writing a love song, saying "When a song is 'I love you, you love me', that's not interesting. But when it's 'I love you, you love somebody else' that's interesting to me!" That explains a ton about his numerous songs about unrequited love. Other highlights included "If You Love Someone Set Them Free", "Brand New Day", "All This Time" and "Walking on the Moon". One of the big highlights of the show was the performance of possibly my favorite Police song "King of Pain". Joining Sting for vocals was musician Joe Sumner of the band Fiction Plane, who opened the show, and happens to be Sting's son. I bring this up because it was somewhat surprising since Sting originally wrote "King of Pain" after the separation of his ex-wife, Joe's mother and now Joe was singing it with his Dad. Whoa!

Sting holding court at this epic show

This was a night of peak musicianship and performance! Just weeks away from Sting's 72nd birthday, I'm fortunate I got to see him. I know this isn't nearly the same as seeing the Synchronicity stadium tour in 1983, but boy does he still have that magic (pardon the pun and forgive me, but every little thing)!

For info on Sting: https://www.sting.com/

Photos by Leah Talatinian

[northcountrysounds]

Local Spotlight: Skarlett Woods

I discovered Skarlett Woods last year at the Duluth Dylan Fest singer/songwriter contest, where she placed second. I personally felt she should have won, but either way, I felt like I had discovered a great talent in Skarlett. At intermission of the event, I texted my roommate and said "look up Skarlett Woods, we have to see her soon, she's amazing". So we looked up when she was playing close to us, went and saw her, fell in love with her music, and we've seen her about 10 times since. Her story started in Brainerd, MN, and from there she moved to Oregon, down to California, and eventually she made her way back to Brainerd in 2020 during the pandemic. I've tried to figure out a way to describe her sound, and the best way I can think of is avant-garde/folk/jazz. Her live shows contain a mixture of originals and covers, and when she does cover songs, she finds a way to put her own stamp on them. She has 1 album of originals so far, I'm Right Here, and will be releasing her second album, Letters to the West, on Oct. 27th. I've gotten a chance to hear almost all of the songs from her new album live, and if the live versions are any indication, this album should be a contender for my album of the year. Skarlett mostly performs in the Midwest, but she does sometimes make it out to the West Coast. Check her website below for her concert schedule, she performs very regularly, and I would recommend checking her out if you are able. She is another musician that has become a friend over time, and Skarlett has such a unique personality and sound, I feel thankful to have discovered her when I did.

Skarlett Woods/ Spotify / Facebook / Instagram / Live Recordings

[ikleesfiction]

I'm a fucking alcoholic (with a sweet tooth)

Fandom : Chicago PD TV Word count : 1,623 words Pairing : Jay Halstead x reader Author's note : This is the third one shot of "Will you follow through if I fall for you" fic continuation. It would be better if you read it first. But if you don't, here's the quick summary. Warning : It's fluff. I hope it doesn't end up too cringy?

Disclaimer

◢◤

It is a cold Friday in Chicago. You would say it is super cold since you worked in the warm weather of Los Angeles last week. Jay is coming over to your place after work. Now both of you are snuggling on the couch, watching movies on TV.

"I cannot watch this part," You hide your face in Jay's chest, preparing for the frightening scene. The darkness in the room increases the tension.

"What are you talking about? This is not even a horror movie," Jay looks down at you, bemused.

"Say you! Watching Tom Cruise blowing up a Gallardo distressed me. My soul is crying. It is a nightmare!"

You move out from Jay's embrace to point out the screen where Maggie Q said it is such a nice car. "Yes, it is! Don't do it, Zhen," yell you at the TV.

However, The Lamborghini on screen still went kaboom and was engulfed in fire. "Oh, no!" You put your hand on your heart, feeling devastated.

Jay grins at your silliness, "I'm sorry for your loss," He rubs your back, offering his condolences. However, his smile turns flirty. "If there's anything I can do to ease your pain..."

You play along with his idea. "Hmm, is that so?" Your hands wrap around Jay, pulling him closer. Your nose is tracing his neck, up to his jaw, his cheek. Your lips softly grace his skin, make their way closer to his. Jay wasted no time to kiss you and keep kissing you.

You don't know how long it goes, and you don't care to know. Until Jay moves back abruptly, tilting his head away from you, "Your pho..."

Your lips cut his words as you get on his lap. Jay puts his hands on your waist to stop you, halfheartedly, "Babe, your phone is ringing,"

Your hands curl behind his neck. "Let it ring." You whisper to his ear. Jay shudders when he feels your breath on his neck. Your mouth soon follows to make a mark on the same point. Jay tries to hold himself back from reciprocating the gesture.

Unlike Jay and his work, you got no obligation to pick up your phone. No life or death depends on you tonight. But the phone keeps shrieking. It started to annoy you because Jay stops participating in this make-out session.

"Might be important," This is one of the rare times you want to curse Jay's occupation.

"I assure you it won't be," You try to get Jay back in the game.

"Well, at least you can tell them to call you back later," Jay lands a soft kiss on your forehead. With a loud sigh, you move away from Jay's lap to pick up your phone.

Seeing the caller ID frustrates you even further. "You are interrupting our date night," is the first thing you say to your best friend, Alex, when you receive the call and put it on speaker.

"Hi, Jay!" Alex chirps his greeting, ignoring your complaint.

Jay greets back with a chuckle, "Hey, man. Nice to hear from you," He takes the remote to pause the movie, where Tom Cruise is gunning a Mercedes CLK down the road.

"No, it's not." You grumble under your breath. "What's up? Did you just come up with a song idea that would make Bruno Mars wished he wrote it?"

As a fellow songwriter/producer, you understand that song inspiration could come anytime. But it would still piss you off if Alex insists on working for it tonight.

"Not yet. But we do have a potential project for you,"

"Couldn't it wait until next week?" You moan your refusal. "Jay and I got plans for the weekend,"

"Of course. As long as you promise to pick up your phone when Angelique calls. I know you have been dodging her." Alex chides you.

Huffing your aversion, you lay your head on Jay's lap. In reflex, he plays with your hair. "Who's Angelique? A new talent?" Jay never heard that name before. He is pretty sure that he knows everybody at Pyramid, Alex's record label in Amsterdam where you work for.

Alex starts to explain, "She is a singer. Been around for a while,"

"Country singer, turned bubblegum pop singer, and now I guess she wants to try dance music as well?" You elaborate to Jay and asking Alex at the same time. You have written and produced songs from various genres, but your notable works so far are mostly EDM.

"Maybe," Alex answers casually.

"Angelique..." Jay ponders for a moment before lighting up, "Oh! Is she the one whose songs you keep skipping whenever they pop up, babe?"

Your best friend lets out a big laugh from the other side of the phone. "Angelique wants Y/N to produce her next album, but all of a sudden Y/N here cannot find the receive button on her phone," Alex emphasizes his sarcasm.

"I took yours, didn't I?"

However, Alex begins his interrogation. "Why are you avoiding her calls anyway?"

"I don't wanna work with her," You know you sound petulant.

"Come on, Y/N, it would be great! Angelique's third album sold triple more than her second. Her last single went neck to neck with Taylor Swift's song. Now, she is gonna let you work on her fourth album! Other producers would kill for this opportunity," Alex tries to reason.

Jay whistles, being impressed by the story.

"Well, my boyfriend here is a cop. I don't wanna get involved in any criminal activity," You are intentionally being obtuse. "If it were so great, why don't you do it? You're the one who still works on stage."

"You know people talked about how you could be the next Max Martin, right? Made sense that she asked for you," Alex states. "Angelique doesn't need another artist to perform with her. She needs someone who writes and produces good stuff."

"Every producer could be the next Max Martin if they work hard," You shrug the notion.

Jay looks confused with all these new names. "And Max Martin is...?"

"We are never ever ever getting back together?" Alex starts singing a couple bars to show Jay some examples of Max Martin's works.

"Uh..." Jay doesn't show any recognition.

"ou make me feel like I'm living a teenage dream?" Alex sings another song. Your best friend is nothing but persistent.

"Uhm.." And yet, Jay is still clueless.

"Jay is not keeping up with pop music for the last decade, Lex," You joke to your best friend. "Try some songs from the Backstreet Boys,"

"Hey!" Jay protests. "I know your songs," He smirks at you in full smug. "Especially the ones that were written about me."

You laugh at his adorable and sexy smirk. Sitting up from Jay's lap, you kiss the smug out of him.

"Guys, I'm still here." The flat tone of Alex on the phone stops Jay from taking the kiss further.

You peck a corner of Jay's lips one more time. "Your own fault. Who told you to call during our date night anyway?"

"Since I'm not there to poke and pinch you, I hope Jay could help me convince you to take this project." Your best friend is shameless.

"Is Angelique not a good person or something?" Jay tries to understand the situation. He knows you are a hard worker. It is rare for you to run off from a big project like this. "She ought to be a good singer, right? With all of that achievements,"

You cross your arms and glare at your boyfriend, "It is a prerogative to hate your best friend's exes, no?"

Jay frowns, "Wait, Angelique is Alex's ex?"

"Oh, come on!" groans Alex. "It was years ago!"

"You know how the saying goes. Quote-unquote, "You are my friend. She is your ex. You get to forgive and move on. I get to hold a grudge until I die”

"That was kinda harsh," Jay comments.

"Your best friend still hates me until now, Jay." You roll your eyes at your boyfriend.

"Mouse doesn't hate you. I even haven't got a chance to tell him about you since he's been deployed," Jay raises his eyebrows.

"She meant your work partner," Alex answers Jay for you.

Jay frowns deeper, "Hailey doesn't hate you."

"Wanna bet on that?" You challenge him.

Alex prevents the couple from bickering further, "Guys, listen! Angelique and I broke up amicably. There were no hard feelings between us now,"

"Excuse you!" You exclaim. "I still remember those dark days. You cried over so many Tequila bottles. And those boxes of chocolate!! Why did we have to consume that much chocolate over a breakup?? My waistline did not come back to its original measurement for three months!!"

Jay lets out an amused snort.

"Oh, you don't get to talk, man!" Alex hits the couple back. "Your temporary breakup also forced me to replenish my Jenever stocks! I got bakeries phone numbers on speed dial for chocolate cake emergencies!"

Jay puts his hands up in surrender. "Okay, okay. You guys continue to discuss business," He stands up from the couch. "I'm gonna go warm up some pie," Jay gestures to the kitchen area. "Alex, it's nice to catch up with you. Hope the next time we talk, it would be more social and less about business,"

"And you, love, try to listen to what Alex offers first before you cut him off," Jay bends down to kiss your lips teasingly. "Please don't pull out any bottles with more than 40% alcohol content. I need you sober for our plans tonight." He winks at you before moving to the kitchen, leaving you to deal with your pushy best friend alone.

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@lorenakaspersen @life-treatments @itsdesiree86

Foot Note: - Tom Cruise and Maggie Q blew up a Lamborghini Gallardo in Mission: Impossible III (2006). All of the MI movies are classics in my household. - Max Martin is a Swedish record producer, songwriter. You might not know his name, but I'm sure you know his songs. In reference to this fic, he co-wrote and co-produced Taylor Swift's "We are never ever ever getting back together", co-wrote Katy Perry's "Teenage Dream", co-wrote and co-produced some of Backstreet Boys' biggest hits. - "You are my friend. She is your ex. You get to forgive and move on. I get to hold a grudge until I die" line is taken from Henrietta Wilson on 9-1-1 TV Series S02E04 "Stuck". I thought it was hilarious. The line became the reason for this particular fic's existence.

I'm sorry for the long note. Thank you for reading this fic and the note. You are so welcome to reply, ask or tag me. We can talk about music, series or Jesse Lee Soffer's abs. :p

[vikingqueer]

music recommendations because i have some thoughts™

i don't wanna be that person who's like "my music taste is so weird lol" but i find that very often most of my friends don't really care for the music i like so i thought i'd just make a long ass post about it on tumblr instead. Fair warning, I'm very passionate about MIKA and The Mechanisms and so this very quickly got VERY long because it is part of my ongoing campaign to convince people to listen to mika and the mechs.

1) MIKA in general, but especially My Name Is Michael Holbrook (2019) and No Place In Heaven (2015) (especially the Deluxe version!!)

MIKA is a kind of British singer (half Lebanese, grew up in France blabla), and you probably know him for Grace Kelly and Relax, Take It Easy from his first album Life In Cartoon Motion from 2007. He writes a lot of FUN music, interspersed with the occasional slightly sadder song, especially when looking at an album like No Place In Heaven, which contains a lot of songs with gay themes, resulting in some songs that are just a little bit ouch. He's originally classically trained and has a frankly RIDICULOUS range and idk he just writes very good pop music. Also I have so much respect for that time he talked about how a lot of pop is very fake, with like expensive cars and stilettos and mini skirts in the snow and said "Because I walk down the street, and I don't see any of that. I see fat women and gay men. I don't know... That's real". He's written 5 albums; My Name Is Michael Holbrook (2019), No Place In Heaven (2015), The Origin Of Love (2012), The Boy Who Knew Too Much (2009), and Life In Cartoon Motion (2007).

For starters, I recommend listening to Last Party, Origin Of Love, Grace Kelly, Blame It On The Girls, Blue, Happy Ending, Pick Up Off The Floor, Last Party, Underwater, Tomorrow and Tiny Love (yes this is a long list but i REALLY love MIKA). If you want a slightly broader palette that's not just my favourites, I recommend the Mika starter pack on spotify.

2) The Mechanisms. I warn you. I am making this a thing. I have been obsessed with the mechs since last march.

Boy, where to start? The Mechanisms were a British 9 member space pirate story-telling cabaret that "died" in January 2020. They rewrite songs to fit retellings of various stories. I don't even know what genre I'd describe them as, but probably folk but steam-punk?? Their 4 "main" albums are concept albums, and I honestly just recommend listening to the from beginning to end in chronological order. A good way to get into the mechs is also to listen to UDAD and then watching the live show on youtube or alternately try giving Death To The Mechanisms a listen, to get good quality live show audio of TBI and various other stuff. Also, it was streamed on YouTube and someone combined the footage with the album audio and it rocks. Really, I think the mechs' best selling points are honestly just their concept albums:

Once Upon a Time (In Space) Their first album from 2012. I'd say this is the most "easily digestible" for the general public, since it's a retelling of various fairytales. So, what if Old King Cole was in fact not merry, but rather a cold-blooded dictator, intent on colonising as much of the galaxy as possible. What if Snow White was a general, looking to avenge what King Cole did to her sister, Rose. What if Cinderella was to be wedded to Rose the day that King Cole attacked in order to kidnap Rose? But y'know, In Space and also like every other mechs album it's a beautiful tragedy. Fave songs are Old King Cole, Pump Shanty, and No Happy Ending.

Ulysses Dies at Dawn You guessed it, it's a story about Odysseus, or Ulysses because I guess Ulysses is easier to rhyme or fit in the meter or something, idk. Ulysses is a war hero of unknown gender who is said to keep something that could take down the corrupt Olympians, meanest families in the City, in a vault to which only they know the passcode. Oedipus, Heracles, Orpheus, and Ariadne have been hired by Hades, who happens to be The Mechs' quartermaster Ashes O'Reilly, to get into Ulysses' vault. I didn't care much for udad at first, but honestly it's got some real bangers and the story is really good. UDAD weirdly stands out as the only of the concept albums to not feature any gay relationships, per se. Fave songs are Riddle of the Sphinx, Favoured Son, and Underworld Blues.

High Noon over Camelot This is my favourite mehcs album. So basically, this is Arthurian legend, but it's a space western and Jonny D'Ville does a bad southern accent. This is the story of the cowboy lovers Arther, Lancelot, and Guinevere searching for the Galfridian Restricted Acces Interface Login, or GRAIL, in order to stop their world from falling into the sun. Meanwhile, Mordred and Gawaine are ruling Camelot, and Mordred has convinced Gawaine to try to establish peace with the Saxons by whom Mordred was raised, but Gawaine hates viciously. If you love getting your heart broken and songs by a fucking off the rails batshit preacher I HIGHLY recommend hnoc. Fave songs are Gunfight at the Dolorous Guard, Blood and Whiskey, and Once and Future King. Honorary mention for Hellfire because it awakens something animalistic in me.

The Bifrost Incident TBI is the frankly only good adaptation of norse mythology I've ever known of, and I say that as Dane who was literally forced to learn things about norse mythology in school because it's my heritage or whatever. I've been listening to TBI a lot lately because it's VERY good. It's definitely the most refined of the mechs' albums (because it's the newest) but also I just love a little bit of cosmic horror. 80 years ago, Odin, the All-Mother, ruler of Asgaard, launched a train through the wormhole Bifrost that would reduce the travel between Asgaard and Midgaard from 3 months to 3 days, but things didn't go quite as planned. Lyfrassir Edda of the New Midgaard Transport Police is trying to solve the case of why suddenly the train has arrived 80 years late; to figure out whether it was accident or maybe it was sabotaged by Loki, who was allegedly sentence to death her murder of Baldur, by the Midgaardian resistance led by Loki's wife Sigyn, or maybe by Thor, who was to take over after Odin, and who holds quite the grudge because he used to be a friend of Loki's. You might've heard the song Thor from this album, it's apparently quite popular. Fave songs are Loki, Ragnarok III: Strange Meeting, and Ragnarok V: End of The Line. Yet again an honorary mention: Red Signal because while Lovecraft was a bitch, his invocations are fucking RAW.

Basically, the Mechanisms do all of their performances in character as captain first mate Jonny D'Ville, quartermaster Ashes O'Reilly, pilot DrumBot Brian, master-at-arms Gunpowder Tim, science officer Raphaella la Cognizi, doctor Baron Marius Von Raum (neither a baron, nor a doctor), archivist Ivy Alexandria, engineer Nastya Rasputina, and The Toy Soldier, who is, as usual, present. You can find very obscure lore about the crew of the Aurora here, tidbits on Tales To Be Told and TTBT Vol. 2, such as One Eyed Jacks, The Ignominious Demise of Dr. Pilchard, Gunpowder Tim vs. The Moon Kaiser, Lucky Sevens, and Lost in the Cosmos.

If you feel like listening to a full 40-50 minute album to find out if you like a band is a bit much, I recommend listening to one of the mini stories Alice, Swan Song, or Frankenstein, which are about 12, 5 and 9:30 minutes respectively.

3) The Amazing Devil You know that guy who played Jaskier in the Witcher? I got into The Amazing Devil from spotify recommending them because I listened to the mechs, and apparently Joey Batey from The Amazing Devil is the same Joey Batey who was in the Witcher. Both him and Madeleine Hyland are VERY talented singers and songwriters and their second album The Horror and the Wild makes me go out into the forest and SCREAM. I listened to it on repeat for like a month straight. I guess they'd also be considered folk, but like. New Folk. Also yes, this is another British artist, I don't know why I'm like this. I've never really gotten that into their first album, Love Run, but King slaps. As I understand there's this whole lore about the Blue Furious Boy and Scarlet Scarlet, Joey and Madeleine respectively, but unlike the Mechanisms it's actually possible to find out things about the actual real people and harder to find the obscure lore? I'm open for people to please help me. Fave songs are The Horror and the Wild, Farewell Wanderlust, and That Unwanted Animal, which is literally a third of their second album, but again. I haven't really listened to Love Run that much, and I just LOVE the harmonies on THATW. (also im gay and dramatic leave me alone)

4) dodie I have so much love for this woman. Like many others, I first knew dodie as doddleoddle on youtube. I think I first stumbled across her in probably 2015, because I distinctly already knew her before she released her first EP Sick of Losing Soulmates in 2016. I think I watched probably every video she's ever made in the span of a few weeks. I just loved her quiet sound and was absolutely HOOKED. Also she's actually the reason I got into MIKA originally, so thanks for that. Dodie just realeased her first album Build A Problem (in addition to her three EP's; the one mentioned above, You, and Human) and it slaps. Yes dodie is also British Fave songs are probably Monster, Rainbow, and In The Middle.

5) Cladia Boleyn Unfortunately, Claudia Boleyn only has three singles and that's it. She's been making content on youtube for quite a while, and that's how I first discovered her. I don't know what genre her music is, but I like it. The songs are Celesta, George, and Mother Maiden Crone, of which the latter is my favourite. I'm not saying Claudia Boleyn invented women in 2017 when she released Mother Maiden Crone, but she did. Also you guessed it, Claudia Boleyn is British.

6) Hozier I'm not about to tell you about Hozier. You know who he is. Listen to Nina Cried Power, Angel Of Small Death & The Codeine Scene, and Shrike. Also Hozier isn't stricly British in that he is definitely from A British Isle, but Ireland is not part of the UK. Give me a break.

7) Oh Land Oh Land IS DANISH. I like her early music best, because I'm not that into the electronic sound. I guess Oh Land is just you regular old pop, but with the occasional weird vibe? Oddly enough, I like her first album Fauna best. Unfortunately I haven't really listened to her newest album Family Tree much, but it seems good? Fave songs are Frostbite, Love You Better and Family Tree. I cried on the bus, first time I listened to the Danish version of Love You Better, Elsker Dig Mer because my mother tongue always just hits harder. Also Frostbite is Oh Land doing a duet with herself which is pretty cool.

8) Oysterband This is a live recommendation. I mean they're a decent folk band and all, but they're a fucking experience live. If you like folk and you ever get the opportunity to see Oysterband live, do it. Unfortunately, yes. They are British. Either way, they are incredible on a scene and I think they deserve a mention for that.

9) Ben Platt Honestly don't know much about this guy, but he's not British and he was in Dear Evan Hansen. He released an album in 2019, Sing To Me Instead, and I just think it's a good album, there isn't really not much more to it. Fave songs are Grow As We Go, Bad Habit, and In Case You Don't Live Forever.

and thats all for now. this has been a ramble. shout out to you if you actually read all of this, especially the mechs part.

[dossi-io]

An introduction to DeVita

Do you want to learn all about the AOMG artist DeVita? This article will cover everything you need to know about the third female member to join the labels roster.

The content of this article is also available in video format, embedded at the bottom of this article.

Prelude

In early April of 2020, the Korean hip-hop label AOMG ambiguously announced that a new artist was signing onto the label. This label was grounded by the Korean-American triple-threat; Jay Park, who’s also one of its executives. This is a label with a very organic feel and artist-oriented nature, which stands out compared to many other music labels.

On April 3rd, the label’s official Instagram account posted a video. It was titled, “Who’s The Next AOMG?” where fellow AOMG members talked about this upcoming recruit. They sprinkled small hints and details by sharing their thoughts on the artist without mentioning who.

Around the world, fans immediately began speculating on who this could be. The major consensus was that it had to be the solo artist Lee Hi, due to reporting like this: “AOMG responds ‘nothing is confirmed’ to reports of Lee Hi signing on with the label”

A few other names got thrown in fan speculations like Hanbin (B.I), previous member of IKON, Jvcki Wai, and MOON (문) aka Moon Sujin. This despite a few of these already being signed to other labels.

On April 6th, three days later, the account was updated with a part two. This time dropping more hints, which would exclude many names from fan speculations.

On the 7th of April, the label’s official Instagram account posted a short teaser. The video sported an 80’s retrofuturistic setting, with a woman turned from the camera, dressed in all black, rocking braids, and some glistening high-heels. As it seemed to be a female, some were now certain that it had to be Lee Hi. A small few actually guessed correctly that the one who would be joining AOMG would be Ms DeVita.

Finally on April 9th, it was official! She debuted with the music video, from which the teaser clips was taken from, EVITA!, which accompanied the release of her EP, CRÈME.

What does the name DeVita mean?

The name DeVita, draws inspiration and meaning from two things. Firstly, Eva Perón – also known as Evita – who was Argentina’s former First Lady. When Chloe was learning about Eva’s life, it inspired her to combine “Devil” and “Evita”, thus creating “DeVita”. The name signifies the duality of how both Eva Perón and DeVita could be perceived. Either being a devil, or an angel depending on the eye of the beholder. Secondly, Salvatore Di Vita, a character from Cinema Paradiso, was also a source of inspiration.

An introduction to DeVita

Chloe Cho – now known under the artist name DeVita – was born and raised in South Korea, until the age of eleven. In 2009, she moved to Chicago, where she would learn English.

In 2013, she went back to Korea and participated in the third season of the show; K-pop Star. A talent show, where the “big three” (the three largest music labels in Korea) hosts auditions to find the next big k-pop star. However she didn’t win, therefore neither got signed.

Later on, she returned to Chicago and graduated high school. After reflecting on what she wanted to do next, she decided to make music. In 2014, her pursuit to become an artist brought her to the talent show Kollaboration. On this show, she performed covers and actually ended up being a finalist. Despite her talents, she did not triumph as the winner of the show.

Not letting these losses stop her, she started releasing music on Soundcloud. The earliest release I could find, Halfway Love (Ruff), was from 2016. Her catalogue consisted of both covers and original music.

One day, Kirin, an artist and CEO of the music label 8balltown Records, was introduced to DeVita’s music. He liked what he heard and the two linked up. In May of 2018, WEKEYZ, one of 8balltown’s producer duos released a track titled Sugar. This track featured both DeVita, and the AOMG rapper Ugly Duck. This was the beginning of many collaborations to come.

On August 28th of 2018, just a few months later, AOMG released Sugar (Puff Daehee Mix).

This was a remix done by Puff Daehee, the alter ego of Kirin. Along with this track, it was accompanied by a music video starring Kirin, DeVita, and Ugly Duck. For most people, this was their first time seeing DeVita.

DeVita continued doing features on many songs by Korean artists while creating a little buzz for herself. There’s one notable feature, which could be seen as an important milestone in her career. That is her feature on the track Noise, from AOMG artist Woo Won Jae’s project, titled af.

In a tweet a few days after the release of CRÈME, she shared the significance of this moment.

“I was still making minimum wage working at a restaurant back when Noise dropped- I wrote my part during my shift on the back of this receipt paper. This was about a year and a half ago. A little bit after that I got a call from Pumpkin at 3am Chicago time. He said Jay wanted to meet in Philly in 4 hours. They put me on a plane and the rest is history.”

The phone call she mentioned in her tweet, about Jay wanting to meet, must have been made around September 2018. Jay was performing in Philadelphia at the time. The moment they met in Philadelphia was actually captured through a photo of the two. However, this picture ended up getting removed later on.

Fast forward a few months and Jay had just released his Ask About Me EP. The project focused on a western audience, so he went to the States on a promo run. During his visit, he also met up with DeVita once again, as can be seen here.

Finally, on April 9th, her being signed to AOMG was officially announced and she debuted with her EP titled CRÈME. Her joining AOMG, looked like something that happened pretty naturally. The vast majority of artists she had collaborated on tracks with happened to be AOMG members. Getting comfortable with the AOMG family, likely made the decision to join crystal clear.

Artistically

Just a quick look at her body of work thus far, a majority of it is in English. However, she has no issues singing in Korean, as proven by her feature on Code Kunst’s; Let u in. The tone in her voice has this sort of mixture of many singers, a melting pot of sorts. It reminds me of Audrey Nuna, SAAY, H.E.R, some vocal riffs from Dinah Jane, and at times, just a tiny bit of Ariana Grande.

As an artist, she’s still in the early stages of carving out her own unique sound and style. There’s incredible potential here, but her distinct identity is not completely there yet. I see before me a caterpillar that within a couple years, will transform into a butterfly, with its own identifiable pattern to spread its wings out on.

From what she’s shown so far, I would say she seems most comfortable doing R&B and soul music. However, beyond a quick description I prefer to refrain from categorizing her. Mostly because artists generally feel limited when categorized. More importantly, because we have no idea what she has in store for the future.

Debut EP: CRÈME

CRÈME is DeVita’s “crème de la crème”. She constantly modified the tracklist to present her debut project in a way that held her personal standard; essentially presenting us her best tracks. The result is CRÈME, which consists of five tracks, with a runtime of fourteen minutes altogether.

This EP showcases the fact that she is a competent songwriter, able to write some soulful, emotional ballads. It is completely in English and all the tracks are written by her, telling both life stories of her own and that of others. A majority of the production was handled by her “musical soulmate”; TE RIM, but other notable names, like Code Kunst show up as well.

Tracks:

Movies, introduces the project in a very gentle manner. In the track, DeVita paints a picture of a criminal couple, getting a rush, by committing crimes together. The lyrics feel inspired by movies like Bonnie and Clyde. My initial thoughts were that, for some ears, it could possibly be “too” calm as an opener. It doesn’t demand attention the way EVITA! does. Simply put, it’s not a bad track. I would just have put this track later on in the EP.

EVITA!, is something different compared to what I hear from others in the K-R&B lane. I love the 80’s aesthetic in both the track and music video. Sonically, the nostalgic saxophone riffs, warm lush synth pads, thumping bass line, results in a trip back to the 80s. With this recipe, topped with DeVita’s “current” contemporary soul and R&B voice makes for an interesting combination. The music video had that futuristic 80’s look with the neon colors, and I loved how the guns she played around with looked a lot like the “Needlers” from the Halo franchise.  The title is once again just like DeVita’s name, an ode to the controversial Eva Perón. The instrumental was originally used by TE RIM, the producer of the track in 2017. His version has the same title as DeVita’s version and I recommend giving that one a listen as well, as it has a different feel to it. This track was definitely one of the highlights of the EP.

All About You, is a simple yet beautiful piano love ballad. Originating from her own tales of love, her vocals effortlessly capture what she felt during these moments.

1974 Live, is yet another ballad, but this time, with a calm guitar backing, playing a poppier R&B chord progression. DeVita’s voice is given a lot of space to be in the center of the track. As soon as I heard this track I became curious. What was the significance of this year, which would have her title the track as such? My questions were left unanswered… until the EP had marinated a while, when she tweeted: “1974 Live is about Christine Chubbuck”. In case you’re unfamiliar, Christine Chubbuck was a television news reporter, who made history in 1974. She was the first person to commit suicide live on air. According to her mother Christine’s suicide would on paper be due to an unfullfilling personal life. All throughout her life, she had experienced unreciprocated love. With this information tying back to the track, it becomes a lot less ambiguous and reveals a more cohesive narrative.

Show Me, is the final track of the EP, featuring immaculate production from the talented CODE KUNST. The sound is very moody, which fits her voice like a glove. This is my favorite performance on the entire EP, both lyrically and vocally. The lyrics present someone who’s fed up dealing with men, who talk the talk but don’t walk the walk. Now she’s looking for love with someone who’s honest and “real”.

With the project being a year old now, it has already gotten her nominated for both Rookie of the Year along with EVITA being nominated for Best R&B & Soul Track in the 18th iteration of the Korean Music Awards.

A majority of listeners seemed to enjoy the project. Many seem to be in love with her voice judging by the endless amounts of praise she has received, often described as painfully addicting, soothing, smooth, and so on.

I also asked a friend who’s a huge fan of Korean music, especially the hiphop and r&b scene to share her thoughts on the project. Here’s what she said:

"This whole project is empowering, in particular the tracks Show Me and EVITA! DeVita being a new artist, managed to impress me and many more listeners through this EP. As mentioned earlier, empowering lyrics with unique melodies and beats. Especially with the track EVITA! The fact that 1974 Live and EVITA! was referring to, two historically important women, is something that I love. This is one of my favorite EP:s of 2020 and DeVita is now included in my list of favorite artists." @Haonsmom

From what I’ve seen, only a few have been vocal about not really being too fond of the project. Some were left a bit disappointed, as they were expecting more hip-hop and R&B from an AOMG artist. The lack of “danceable” tracks was also a concern to some. Despite these criticisms, one thing was always mentioned; the girl has a beautiful voice and is obviously talented.

After listening to this EP, I hear a lot of potential. Being an EP with just five tracks, it definitely avoids overstaying its welcome. It’s brief enough to allow a listen through the entire project, no matter what you’re doing. My favorite tracks would have to be Show Me and EVITA!, but I found the whole project to be enjoyable. This EP is sprinkled with lovely vocal performances and simple but captivating production. I do still stand by my opinion that Movies would have fit better later in the tracklist if you’re chasing that mainstream ear.

I think the way EVITA! kicks you in the face, demanding attention, would’ve been a better fit as the opening track. In contrast to the other tracks, the energy level is unique, making the placement feel odd as the rest of the tracks have a chill vibe. All in all, this project gave me a taste of the “crème” but left me with a curious yearning for what this chef will whip up for dessert.

Bright future ahead

The addition of more female artists to the AOMG roster was much needed. Hoody was the first and only female member for about four years. This was the case up until late 2019, where she was then joined by sogumm, who had just won AOMG’s audition program called SignHere. Now funnily enough after DeVita, Lee Hi actually did end up officially signing with AOMG on July 22, last year.

Based on what I’ve heard during Devita’s Kollaboration days, she has improved immensely. This topped with her leaving the impression of someone passionate about their craft, bodes well for what's to come. She seems to be someone who'll constantly evolve.

Following an artist, at the early stages of their career, is something that I always find exciting. With such a lovely debut, I cannot wait to see what the future has in store for DeVita.

To view the content of this article in video format simply play the video embedded below.

Thanks for reading, watching. If you enjoyed this content feel free to follow my socials to stay up to date on when new content is posted.

https://allmylinks.com/dossi-io

Credits:

The first image in article: Original photo, pre-edit from @jinveun

Gif from the Sugar Puff Daehee MV: @moxiepoints

[dasphinxone]

Book of Nile: Burlesque AU

Shout out to @winterequinoxx @yeahwellyourface @druidspell @rainofdreams29 @shebattlesman @highlightcity159 @ruby-white-rabbit​ and the Book of Nile chat for this one. Y’all are legit INSPIRING.

Based on the super corny and cheesy but “Awesome when I watch it while drunk” movie Burlesque starring Cher and Christina Aguilera.

Nile is an aspiring singer who left Chicago for Los Angeles in order to realize her dreams of becoming a recording artist. She writes her own songs and has a voice that is devastating, a born star. However, she’s down on her luck when she stumbles into the burlesque theater owned by one Andromache or “Andy” as everyone calls her. Andy’s wife, Quynh, is the main costumer of the performers. Nicolo “Nicky” is the club’s choreographer for the routines. He’s married to Yusuf or “Joe” as his friends call him. Yusuf plays the trumpet and is the band leader for the in-house jazz ensemble.  And then there’s Sebastien “Booker” le Livre. An older, washed up bartender, he also originally came to L.A. to be a songwriter. Except his dreams died long ago after his wife left him and moved back home. His life spiraled out of control and the only reason he’s got the job as the burlesque’s bartender is out of pity from Andy. He’s bitter, bored out of his mind and feels like his life is going absolutely nowhere...well, that is until Nile breaks out into singing Etta James’ Something’s Got a Hold on Me when there’s a glitch on the lip syncing track during a burlesque performance at the club. 

Booker falls head over heels for her right then and there. Inspired by this siren, her work ethic and sheer unadulterated talent, he starts secretly writing music again.  For she’s his muse who he imagines performing his songs. He keeps it all to himself though. Because there’s no way in hell a woman like her will go for an old failure like him. Content to watch Nile perform and her star rise with each passing week, Booker thinks being able to look but not touch is enough to sustain him.

That is until Nile’s motel room where she’s staying gets broken into and she gets her life savings stolen. Since she has no savings and no safe place to stay, Booker finds himself offering to let her stay with him in his bungalow that he used to share with his ex-wife. Nile takes him up on the offer and moves in with him. Except she soon finds herself attracted to him. Sure, he’s sarcastic and all up in his maudlin feelings when he drinks. Yet he’s also doing little things for her around the house. Every time she tries to pay him back, he waves her off. It’s almost like he lives to serve in his deference to her. 

Meanwhile, Andy has mortgaged her club far too many times and owes the bank hundreds of thousand of dollars. Merrick, a shitty real estate developer, is gleefully waiting in the wings for Andy to default on her latest mortgage. He’s pissed because she keeps rejecting his offers to buy the place. So he sends his minion in Keane to spy on the club and make sure Andy defaults so that Merrick can take over the property. He plans to demolish it to build luxury condos on the site. 

While at the club, Keane spots Nile and wants her for himself. He starts pursing Nile and she starts dating him. However, she quickly realizes her heart isn’t into it. Not to mention, Keane comes off as more and more of a raging asshole with each passing date. Even after he wines and dines her and gifts her a killer pair of crystal, Louboutin red bottom heels.

At the same time, Booker and Nile find themselves falling for each other. There’s so much sexual tension and neither of these beautiful idiots have any place to put it. That is until they hook up one night after stumbling home drunk from the wedding reception of one of Nile’s fellow burlesque dancers. They sex is mind blowing and they realize that perhaps, maybe this can turn into a relationship. The problem? Nile wakes up to Booker’s ex-wife screaming at her in their bungalow. Turns out Booker never finalized the divorce and his ex wants him back. That also means he technically cheated with Nile since he’s still legally married to his wife. Understandably pissed the fuck off, Nile moves in with Joe and Nicky and tells Booker to never speak to her again. 

While Nile lives with them, Joe and Nicky reveal to her the rocky start to their own relationship. Nile is stunned, as they’re clearly still in love with each other after all of their years of marriage. 

Trained as a ballet dancer in Genoa before moving to Milan to dance at the famous La Scala Theater, Nicky sustained an injury that ended his career. He wandered the world trying to find himself. It ultimately led to him ending up in L.A., broke and with no idea of to do with his life. That’s where he met Quynh and Andy, who gave him a job as a first line dancer at their club. After seeing his talent, they promoted him to the club’s choreographer.

Meanwhile, Joe loves playing jazz, but it’s a dying art. So he while he adores working at the club before Nicky got there, Nicky was a snotty asshole to Joe since Joe didn’t write his own music. Mostly, Joe would provide the instrumentation to the music Booker wrote, which is how he and Booker became best friends. Unfortunately, Nicky saw Joe as creatively bankrupt while Joe pointed out that Nicky was a failure in his ballet career. They hated each other initially. Over the years, Nicky became less of an asshole, taking pride in his choreography. He also found himself falling in love with Joe. Working to earn Joe’s forgiveness for his initially bristly personality, Nicky made amends. He and Joe started dating and soon Joe proposed. They’ve been inseparable ever since. 

Joe quietly reminds Nile that Booker is a broken man who needs to heal himself before he’ll find himself worthy of her. He knew Booker before his life went to shit and his wife divorced him. Once Nicky finally made amends with Joe, Booker became Nicky’s friend as well. So they both know Booker can be a good man. But again, he needs to work on himself.  

As for Nile and Keane? The final straw comes when she sees the plans for Merrick’s condo at Keane’s place. She realizes that Keane has been working for Merrick the entire time and doesn’t give a fuck about the club being shut down and her losing her livelihood. Nile dumps Keane and takes her information to Andy.  With only a few days before Andy defaults on her loan, Nile realizes that they could potentially save the club. As there’s another luxury condo development being currently built across the street. They ask to meet with the owner, who turns out to be Copley. Copley used to work for Merrick but quit after he found out Merrick’s shady business dealings. So Copley is all too happy to pay Andy for the air rights to her club. This guarantees that Copley’s luxury condos retain their views of the Pacific Ocean. It also gives Andy the money she needs to pay off the mortgage and save the club. 

Booker finally apologizes to Nile and shows her the paperwork that he’s in the process of finalizing his divorce from his wife for real this time. He also confesses his true feelings for Nile, showing her all of the songs he’s written that she inspired in him. He also admits she’s been his muse and apologizes if that comes off as creepy. He really does see her as an equal and was straight up overwhelmed with his feelings for her when he saw her sing for the first time.

They reunite and everything closes out with Nile singing a song she and Booker cowrote that works with Nicky’s choreography and Joe’s instrumentation skills with his trumpet and leading the band.

Playlist

Yoncé/Partition - Beyoncé

A Night Like This - Caro Emerald

Ended With The Night - Caravan Palace

Jolie Coquine - Caravan Palace

Something’s Got a Hold on Me  - Etta James

Chambermaid Swing - Parov Stelar

All That Glitters - Earl

Gnossienne 1 - Erik Satie

Toxic - Britney Spears

Could’ve Been - H.E.R.

Cuz I Love You - Lizzo 

Undo - JAMi2

Forgive Me - Chloe x Halle

Rocket - Beyoncé

Bomba -  JAMi2 

[angelhummel]

you talked about Sarley and I have no idea if I already asked this before buttttt

Tell me some of your Sarley headcanons I NEED TO KNOW

Omggg I think I told you all the headcanons I have 😂 I’m not good at thinking of a bunch of different stuff like you are!

Okay well not so much a headcanon for starters but Marley and Sam have so much in common! I feel like their beliefs, their lifestyles, their habits, their tastes would all match up perfectly. But not in like a weird twinsies kind of way lol. Just in a nice and easy friendship to romance type way

I mean like Sam was the only guy who didn’t need a grace period to like “warm up” to Kurt or anything. He met him and immediately accepted him for who he was, while a lot of other club members couldn’t say that. Same with Marley and Unique. They decided to have each other’s backs from the beginning (I also hc Sam and Marley both as not straight :P) 

So besides Unique, I think Sam would be the easiest person for Marley to warm up to. Like the other girls are older and have been there longer, and she’s kind of a little intimidated by them even if she won’t admit it. And she doesn’t like Kitty at first. And Artie and Blaine are the other senior members and Jake is like the mysterious bad boy. But Sam is chill, he’s sweet, friendly, nice, and welcoming. And cute to boot so of course she takes notice and is drawn to him

And of course they’ve been in similar living situations before so they understand one another that way. I just think there’s so many possibilities there. I mean even just the two of them going thrifting together. Finding worn but good clothing together. And I hc Marley as knowing how to sew/knit/crochet and being super crafty and stuff so like if they find clothes that are a little worse for wear, she can fix them up and have them looking good as new. And maybe Sam goes with her to the craft store to help her pick out fabric to make dresses and skirts with. And she knits him a sweater that she literally started working on in August and finishes in time to give it to him for Christmas

Quick side note, but did we ever hear about Sam’s family moving back to Ohio? Or are we supposed to believe he was living with the Hudson-Hummels all of s4-5?? Well if so then I just imagine Sam inviting everyone over to the Hudmel house. And you know Carole and Burt want to adopt everyone. And maybe Marley, Kitty, and Tina are there the most. And that’s why they danced with Kurt during his song for Burt in Wonderful 

But if Sam’s actual family is around then they would spend a lot of time babysitting his siblings. And Stacey and Stevie would both love Marley so much. Whenever Marley had leftover fabric from her own dresses, she would make a matching little dress for Stacey. Or make a little stuffed animal for Stevie. And they would always have singalongs together while Sam played his guitar. And they’d be the best at playing pretend and telling bedtime stories, always keeping the kids entertained. 

Also for a more serious one, Marley and Sam both have problems with their body image. Sam knows what it feels like to try and force yourself to look a certain way, even when it’s taking a toll on his mental health. He would be there to support Marley after things got so bad that she fainted. And then he’d always have extra snacks in his bag for her after that. And he’d always keep an eye on her at lunch, making sure she was really eating and not just pretending. And she would think it was annoying but also be grateful for the concern 

And I hate the whole Jarley cheating plotline but if Sarley were just friends first and Jarley happened like in canon, then Sam would be there to console her after they broke up. Bc he’d been cheated on by Quinn and he knew how awful it felt, so he would help her get through that. Also bc I really don’t like Marley and Ryder together, why couldn’t it have just been Sam?? 😭

Also for the future, I could be on board with Sam being a teacher, but maybe just a nice little school in New York?? So they could be closer with everyone else. He could start up an arts program for underprivileged kids to make sure they get the same exposure to music and opportunities that they might not be afforded otherwise. And I love the idea of Marley being kind of like a mystery singer/songwriter?? She helps Klaine with a lot of the original music for the shows they write, and even has several writing and singing credits on some of Mercedes’s albums. And tons of people know her name and voice but it’s not like she’s selling out arena shows and performing giant concerts or anything

Anyway some of this is stuff I already mentioned but some of it is just off the cuff lol. Hope you like it!

[paths-of-my-childhood-candid]

OH, TAYLOR! Taylor Swift On Side-Stepping Into Acting, Owning What You Make & Loving The “Weirdness” Of Cats

On a grey London afternoon in late September, Taylor Swift slips quietly through the doors of a north London recording studio. It is an auspicious moment: the queen of confessional pop has come to meet Andrew Lloyd Webber, the king of musical theatre. Together, Swift, who turns 30 this month, and Lloyd Webber, 71, have written “Beautiful Ghosts”, a new song for the soon-to-be-released film adaptation of Cats – Webber’s 1981 extravaganza, which ran in the West End and on Broadway for a combined total of almost 40 years. In it, Swift plays Bombalurina, and like her co-stars – Idris Elba, Judi Dench, Francesca Hayward, Ian McKellen, Jennifer Hudson, Rebel Wilson – appears in full, furry CGI glory. Track finished, these two titans of the music industry sit down to talk… 

Andrew Lloyd Webber: Well, the first thing we have to clear up is that we both love cats. Taylor Swift: [Laughs] We do! One of the first things you said to me when we met was that you’re president of the Turkish Van Cat Club.  ALW: Professionally, there is nowhere I can go to top this, as you can completely understand. TS: I have three cats. How many do you have now?  ALW: I have three, too – they are all Turkish Vans. And you’ve got a Scottish Fold I believe. TS: I have two Scottish Folds, we think the third is a Ragdoll mix. ALW: You’re probably never going to talk to me again, but you know I’ve got a puppy? He’s called Mojito.  TS: I heard about this! How does he get along in the hierarchy?  ALW: Well, he believes he’s a little bear actually. He’s a Havanese dog, which I got because Glenn Close has one. TS: I’ve met that dog, he’s really good. ALW: You come from Pennsylvania. TS: I do. People seem to think I was raised in the south, but I’m from the north – grew up on a Christmas tree farm, then moved to Nashville when I was 14. ALW: And you wanted to move to Nashville for the songwriting or the singing? Or both? TS: Both – I was just obsessed with Shania Twain, Faith Hill, Dixie Chicks, and the thing they had in common was that they had gotten discovered in Nashville. So I had it in my head that this is a magical place where discoveries are made and people are able to do music as a living. ALW: Was it the storytelling side of country songs that you liked? Absolutely. It reminded me of the ’90s, when you had these amazing female singer-songwriters like Alanis Morissette and Sarah McLachlan; incredible female writers like Melissa Etheridge, Shawn Colvin; and these types of Lilith Fair women. Then you started to hit the 2000s and the only place I could find real confessional storytelling was country music. ALW: Did you know anybody when you got to Nashville? TS: No, we didn’t really. I’d been going there on vacation with my family, and my mom, my little brother and I would stay in a hotel and try to meet people. Eventually, after several trips, I got a development deal – it’s a non-committal record deal, like, “We’ll watch you develop for a year and then we’ll decide if we sign you.” That was grounds enough to move the family. ALW: Presumably you were in school in Nashville as well? TS: Yes, I was going to high school during the day and doing my songwriting sessions at night. It was a double life. I’d be writing notes in class, and my teachers never knew if they were notes for my class or if I’d gotten an idea for a song. ALW: How many songs would you write in a day? TS: Usually, never more than one. I had these sessions every day, and if I didn’t come in with a good idea, I’d get stared at. You’re not inspired every day, as you know, but you have to show up and treat it like a job. That’s where I learned the craft of songwriting. ALW: I’ve never worked like that, because I’m so story driven. What interests me, though, is how Nashville works. How did you get your foot on the performing ladder? TS: It was really writing first. At the same time, I was singing the national anthem every time I could – at festivals and fairs and bars, anywhere I could get up on stage. I was trying to hone both sides of what I was doing, but I’m very well aware that I would not have a career if I hadn’t been a writer. I wouldn’t have just been a singer, it wouldn’t have worked. ALW: I guess that, today, very few people have a major career unless they write. TS: Yeah, I agree. I think it’s really important – also from the side of ownership over what you do and make. Even if you aren’t a natural writer, you should try to involve yourself in the messages you’re sending. ALW: How does a young country artist get their first break? TS: I worked as hard as I could, reached out to as many people as I could to make sure I got meetings with publishing companies and labels. They didn’t come about very easily, but once I got in the room I’d just get out my guitar and play for them. ALW: Do you have to sing in a certain club to get to the next stage? TS: Everyone does it a different way, but the Bluebird Cafe is a place where everyone was discovered – from Garth Brooks to Faith Hill to, arguably, me. I remember being at your house after we’d written a song, and you telling me you’d bought it when you were 24 or something, that’s when I realised just how young you were when you had a vision to be doing this at such a high level. ALW: I was writing for the theatre when I was eight-years-old. I had a little toy theatre and did dreadful musicals on terrible subjects. Then, when I was about 13, I met a boy who wanted to write lyrics, and we did a couple of musicals at school. TS: So from the beginning you would pair up with a lyricist? ALW: One of the things I worked out very early was Lloyd Webber and lyrics are not a good idea. TS: Wow. It is a good alliteration, though. ALW: You were 19, weren’t you, when you had your first big hit? TS: I was about 18 when “Love Story”, a song I’d written alone, was a worldwide hit. I was lucky enough to work my way up in country music, for new artists nowadays, it feels like the trajectory of their career is like being shot out of a canon into a stratosphere they could in no way be prepared for. I got to sort of acclimate to every step of the path I was on, and by the time I had a massive hit I’d been working since I was 14. Moving from country music to pop was a crazy adjustment for me. ALW: And now we’ve written “Beautiful Ghosts” together for Cats. TS: I remember the moment. I went over to your apartment to rehearse “Macavity” and you sat down at the piano and started to play this haunting, beautiful melody, and I think I just started singing to it right away. ALW: You wrote the lyrics more or less then and there – it was fantastic. TS: It’s a different perspective on the song “Memory”, too, and the character of Grizabella [played by Jennifer Hudson], who used to have majestic, glamorous times and doesn’t anymore. On the other side of it, you have this little white cat [Victoria, played by Francesca Hayward] who’s been abandoned – she’s afraid she’ll never have a chance to have beautiful memories. So that’s where she’s singing “Beautiful Ghosts” from, to counter Grizabella’s idea of tragedy. ALW: I’d like to come back to something I thought when I heard your album, Lover – which is really absolutely brilliant. Am I right in thinking you approached its recording just as though you were giving live performances? TS: I did. I was really singing a lot at that point – I’d just come from a stadium tour, and then did Cats, which was all based on live performances – so a lot of that album is nearly whole takes. When you perform live, you’re narrating and you’re getting into the story and you’re making faces that are ugly and you’re putting a different meaning on a song every time you perform it. ALW: That’s the point isn’t it. TS: Yeah. ALW: Does that ever make you feel you want to be an actress? TS: I have no idea. When I was younger, I used to get questions like, “Where do you see yourself in 10 years?” I’d try to answer. As I get older, I’m learning that wisdom is learning how dumb you are compared to how much you are going to know. I really had an amazing time with Cats. I think I loved the weirdness of it. I loved how I felt I’d never get another opportunity to be like this in my life. ALW: It’s weird, what I’ve seen of the movie. TS: It’s decidedly weird [they laugh]. ALW: I think Tom [Hooper, the film’s director] has really tried to make something original. And I agree, I think as you get older you do become less sure of yourself and start to question what you can do. Would you consider doing a musical? TS: A musical? Absolutely, absolutely. ALW: Or writing your own? TS: That is way up there on my list of dreams. ALW: You should. TS: Was it really wonderful for you when you got the news that Judi Dench had accepted the role of Old Deuteronomy? ALW: Judi was in the original version in 1981 but she snapped her Achilles tendon and had to withdraw. Then I had this idea, which I ran past Tom, that we could make Old Deuteronomy a woman. Seeing her perform this time was quite an emotional thing for me, because it was a very, very sad day when she had to leave the original show. TS: She’s lovely. I remember being on set, and there is one scene that Idris [Elba, who plays Macavity] and I do with Judi, and someone walked up to me with this kind of gummy candy and I was like, “Oh, I’ve never had this before, this must be British candy, this is amazing.” I was raving about this candy so much, and Judi must have overheard me, because the next day I got to my dressing room and there was a signed photo from Judi and, like, six bags of it [they laugh]. Andrew, we both started young. What do we have in common from our experiences? What do you think was hard about it? And what was great? ALW: I suppose what was hard for me was that I was a fish out of the mainstream water. In the 1960s, to love musicals was as uncool as you could possibly be, and kids in my class at school would laugh at me. TS: I was the same. I loved country music and, where I was in school, the kids were just completely perplexed by that. It’s gotten more mainstream, but when I was a 13-year-old in Pennsylvania, I got similar reactions. Do you feel like you’re glad you were really young when you started? ALW: Yeah, are you? TS: I’m really glad, even though there are challenges to it – like you’re not allowed to make the same mistakes as everyone else because your mistakes are a commodity. ALW: And your mistakes are made in public. But we share something in common, in which we are extremely lucky. We both knew at an early age what we wanted to do, and most people in life don’t have a clue. TS: That’s very true. I think, also, a lot of the time when people see a career that they want it can be results-based. Rather than wanting to write musicals, they want to be a person who has written musicals. But when I see you work, I see you consistently creating and being curious about the next idea. You relish in the process even more than the rewards, which is the advice I would give anyone who wanted to do anything remotely close to this job. It cannot be about the results. ALW: It’s the process isn’t it? TS: It has to be. It’s supposed to be fun!

MEET & GREET: Introducing the faces behind this month’s issue

When it came to interviewing Taylor Swift about her musical-movie debut in Cats, there was only one man for the job: Andrew Lloyd Webber, composer of the original West End and Broadway mega hit. The two colossi of songwriting had plenty to discuss at a recording studio in north London – art, ambition and authenticity, plus what we can expect from the soon-to-be-released film.

Vogue: What was it like to work with Taylor? Andrew Lloyd Webber: She’s supremely professional and very charming with it. In my view, she could go far. Vogue: What was your first impression of her? ALW: She’s a lot taller than me, and a lot more attractive. Vogue: What’s your favourite Swift hit? ALW: “Blank Space” from the album 1989. It’s a great pop song with great lyrics.

[mrsrcbinscn]

[Past] Franny Sor’s 1 hour set at a bar in Downtown Nashville, February 24, 1999

hi i’m in my feelings so have this silly hc piece. It’s a mix of a oneshot and just a list really.

I hc this is the gig that Franny met Cornelius at, but I left all the other details about him vague ^_^

cover versions of the songs are linked for general vibe

so anyway someone come write my cornelius lmao<3

The 9 PM time slot at The Whiskey Hive on Broadway was a coveted one, a surefire moneymaker. Franny, wonderin’ how in the hell she was ever going to pay for her next semester, let alone her next three years at Belmont, jumped at the opportunity to take it when the original singer cancelled at 4:30. Lucky thing she lived on campus and could easily make it in time -- even with guitar and banjo in tow.

Pete the talent manager always called Franny first or nearly-first when he had an open slot. She didn’t usually get the best time slots. She was barely nineteen, new in town, not like these other people who have been songwriting in Nashville for over a decade, and there was a sense of seniority in these circles. Franny could tell Pete was giving her a chance to earn her way into the 8-10 PM time slots and there was no way in hell she way blowing it.

That of course meant there was only one song from her repertoire she could possibly open with...Poor, Poor, Pitiful Me by Linda Ronstadt of course! If Franny ever needed an ‘impress a crowd free’ song, she only needed to whip Linda Ronstadt out of her back pocket. It also didn’t hurt that Terri Clark had recently brought the song back to the attention of country music fans with her cover of it.

“Let’s give a big Whiskey Hive welcome to little miss Franny Sor, a freshman here at Belmont University, all the way from Payne Lake, Georgia!” Pete said into his microphone before turning it off and nodding to Franny to begin.

The crowd applauded between eating and drinking their beers and cocktails, and Franny idly played a few chords to get some background noise goin’ as she introduced herself.

“Hey y’all! Like Pete said, I’m Franny Sor, I live here in Nashville and I’m a music studies student and songwriter. We’re gonna start tonight with a little Linda Ronstadt.”

The crowd, mostly the thirty-five-and-older folks, applauded, and Franny began her acoustic rendition of Poor, Poor, Pitiful Me.

“Thank y’all so much! Now, if there’s anything you want to hear at any point in the next hour, just let me know, I love requests. And if you like what you hear, feel free to drop some change in the tip buckets, it helps keep me here in Nashville, put gas in my car, buy my cat wet food. You know, the essentials.”

She went right into Roseanne Cash’s Seven Year Ache, trying not to notice the young man at the bar, probably about three or four years older than her, who met her eye a few times and seemed to be fishin’ for his wallet. 

A few folks dropped some tips in the bucker, including the handsome young man alone at the bar.

“Thank you, thank you! And where are you from, sir?” Franny asked, figuring now was a good opportunity for crowd engagement. 

The man startled, clearly not one comfortable with being put on the spot, but answered her with a nervous smile.

“Ohhh, I’ve always wanted to go there. Cool accent! What brings you to Nashville? What’s your name?”

“I’m living here for work right now. Uh, Cornelius.”

“What kinda music do you like, Cornelius? I can play anythin’. Rock, pop, country, bluegrass.”

He blinked, almost as if he forgot what music was, let alone what he liked. After a beat, he stuttered out, “Um- a- an-an original?”

Good Lord, the squeak that came out of Franny’s mouth. “That’s the first time anybody’s ever requested an original! I’m very excited about this song I just wrote. To keep a very long story offensively short, my mother came to the United States in 1979 as a refugee from Cambodia. She was separated from her entire family during the conflict there, and didn’t even know that my grandmother was still alive until I was nine. I wrote this song over Christmas break, when my grandmother visited from Cambodia and my brothers and I got to meet her. This song is to my mother, from my grandmother’s perspective.  I promise I’ll play a fun song after this one.”

That at least got some laughter from the audience.

She set her guitar down, picked up her banjo, and played Oh, Sophia, a song she wrote.

“I promise y’all, if I ever write a happy little love song, y’all will be the first to know,” Franny joked as she switched out her banjo for her guitar again. “It’s just that ain’t no guy I’ve gone with has been love song material. Hey, Cornelius, if you know any guys worth writin’ a love song about, you call me, eh?” 

Franny hopped up on her tippy toes to look out at a table where a family with a cute little girl was sitting. “What about y’all, with the little girl in pigtails? Where’re you from?”

“San Francisco! Exciting! What brings you to Nashville?”

“Vacation!”

“You came to the right place, I love this little city. What kind of music do you wanna hear?”

“Know any Roger Miller?” Asked the husband.

Franny giggled, then smirked. “Of course I do! Roger Miller’s some of my favorite songwriting in country music. Do you like Kansas City Star?”

She reached down into her guitar case and brandished a tambourine, which she promptly put her foot through on the floor to use to keep time as she played her cover of Kansas City Star.

Franny did her very, very, damned best not to make eye contact with Cornelius with the accent again, but she couldn’t help it. He was the only person in the place lookin’ at her like she wasn’t just background noise.

"Is anybody else here from Georgia tonight? Or just me. Anybody from Georgia?”

A bachelorette party toward the back WOOOOOO’d and Franny immediately regretted asking.

“For real? Where at?”

“Marietta!”

“Y’all like Reba?” More WOOOOOOs from the girls. 

Franny gently slid her tambourine to the side with her foot and got ready to bang out The Night The Lights Went Out in Georgia. If she could get the energy in the room nice and up with Reba, then she could probably play the song she’d been dying to play all hour.

Her eyes kept darting toward Cornelius at the bar, still sipping the same beer he’d started the hour with. At least he ordered food too. Bartender probably wouldn’t be too pissed as long as he tipped good. Judging by the twenty he dropped in Franny’s tip bucket, he should.

It wasn’t just the fact she made good money off of him -- he was just. Listening to her. People didn’t do that here, not really.

As she finished, the crowd applauded for the performance she gave on that song. Turns out going for a tough song pays off...if you got the skills to back it up.

“This is one of my favorite songs, and I don’t get to play it often. Ain’t really country, but I really want to play it. Is that all right with y’all?” Franny asked the crowd, who, on account of being thoroughly entertained at this point, cheered.

She set her banjo down and picked her guitar back up, and picked out the first few notes of Angel of The Morning.

It was a risk, but the bar seemed to like her well enough to go for it. Was it a great bar song? Eh, no. But did Franny believe her vocal performance could make up for that? For sure. 

And lookit that, a gentleman at a table in the middle stood out of his seat to applaud her! Ha!

“Y’all wanna hear a girl do Hank Williams?” Franny joked, and at the applause and whoops, she said, “Gimme a song, any Hank song, c’mon!”

“Lovesick Blues!”

“You wanna hear Lovesick Blues? And where are you from?”

“Calgary!”

“Canada! Well, welcome to Nashville. Here’s Lovesick Blues for ya, Canada.”

Country fans always did find it impressive when she could country yodel into a Hank song.

As she considered what exactly to whip out next, someone shouted, “Tammy Wynette!” and Franny zeroed in on that request. 

“Which song?”

“Stand By Your Man!”

“Alright folks, heeeere’s Stand By Your Man by the legend herself.”

Franny personally didn’t adore the song -- she thought it gave men’s shitty behavior a pass. But it was a classic, and to make it in music, you gotta know the classics.

“Does anybody here like Alanis Morisette? I know, I know, it’s not country...I told y’all! I like everything. I’m a teenage girl in 1999, of course Alanis Morisette speaks to my soul.”

She very pointedly was not looking at cute-Cornelius-at-the-bar as she sang Head Over Feet, lest she catch nerves and butterflies. Even as she noticed him get up out of the corner of her eye and drop another bank note into the tip bucket.

“What do y’all wanna hear for the grand finale? Old country, new country, pop, rock...? What about you, Mr. Cornelius-from-[redacted]?”

“New country! I, uh, actually could use some educating on it. About it. Country.”

Franny smiled and readied her fingers on the right frets for the first chord. “Great! We’ll wrap up our time together with some Mark Chestnutt.”

It’s A Little Too Late was a goddamn blast to play, so why not?

Franny hopped off the stage and sped through counting her tips, in hopes of catching Cornelius before he left to chat him up more. What? He was cute, had a cool accent, and tipped her well. May as well say hello...

[yoshidas-girl-forever]

Freddie Mercury 

The Great Showman

Our paper will be about the flamboyant frontman, songwriter, and singer for Queen, Freddie Mercury. He was born as Farrokh Bulsara on September 5th, 1946 in Stone Town, Zanzibar which is now in Tanzania. Freddie was born with four hyperdontia  incisors which Mercury attributed to his vocal range and why he never got them fixed later in life.

Mercury was born to Parsi parents, Jer and Bomi Bulsara who were originally from India but they immigrated to Zanzibar because of Bomi’s job with the British Colonial Service. Freddie has a younger sister named Kashmira Bulsara who was born around the time he started his boarding school. The family practiced Zoroastrianism which Freddie never held a strong belief in.

Freddie spent most of his childhood in India and took piano lessons at age seven while living with family and at the age of eight he was sent off to study at St. Peter’s School in Panchgani. It was at St. Peter’s that Freddie started to call himself “Freddie”. At the age of twelve, he started a band called “The Hectics”. A friend recalled that Freddie had "an uncanny ability to listen to the radio and replay what he heard on piano". In 1963 he moved back in with his parents and the following year in 1964 they fled to England from the Zanzibar Revolution.

Mercury studied art and graphic design at Ealing Art College he most likely graduated with a diploma in  the year 1969 but it could be possible 1968 as well. With his skills Freddie would later go on to design his band, Queen’s, logo. Following graduation he would join a series of bands as he worked in Kensington Market selling second hand Edwardian clothes and scarfs alongside future band mate Roger Taylor. 

In early 1970, Tim Staffell would leave Roger Taylor and Brian May’s band Smile and in April of that same year Freddie would join Smile and become their lead singer. A year later in 1971 bassist John Deacon would join the band completing it. Mercury chose the name “Queen” for the band ignoring the warnings from his band mates and studio. Freddie later said about the name Queen, 

“"It's very regal obviously, and it sounds splendid. It's a strong name, very universal and immediate. “I was certainly aware of the gay connotations, but that was just one facet of it."” (Mercury, Freddie, 1970)

Also around this time Freddie Bulsara legally changed his name to Freddie Mercury. 

So Freddie’s speaking tone was in the baritone range which means it's between bass and tenor, most of his songs were in the tenor range. Mercury’s range extended from bass low F to soprano high F, also could belt up to tenor high F.

A quote from Donna Soto-Morettini book “Popular Singing: A Practical Guide To: Pop, Jazz, Blues, Rock, Country and Gospel, A & C Black” says this about Freddie’s vocals, 

“His technique was astonishing. No problem of tempo, he sang with an incisive sense of rhythm, his vocal placement was very good and he was able to glide effortlessly from one register to another. He also had a great musicality. His phrasing was subtle, delicate and sweet or energetic and slamming. He was able to find the right colouring or expressive nuance for each word.” (Soto-Morettini, Donna, book not available for preview)

In 2003 Mercury was posthumously put into the Songwriters Hall of Fame and in 05 all four Queen members were awarded a Ivor Novello Award and that was for Outstanding Song Collection from the British Academy of Songwriters, Composers, and Authors.

Now while Queen is a classic rock band they didn’t just write rock they wrote a wide variety of music genres including but not limited to: rockabilly, gospel, disco, heavy metal, and progressive rock. 

In a 1986 interview Mercury said, “I hate doing the same thing again and again and again. I like to see what's happening now in music, film and theatre and incorporate all of those things.” (Mercury, Freddie, 1986)

And Mercury did extravagant performances on stage for his audience; he even got them to join in vocal warmups with him. It was like a different personality came out on stage and he was this energetic guy who lit up the whole room. Mercury performed an estimated 700 concerts with Queen. Mercury's final live performance with Queen took place on August 9th, 1986 at Knebworth Park in England which drew an attendance estimated as high as 200,000. With the British national anthem  playing at the end of the concert, Freddie’s final act on stage saw him draped in a robe, holding a golden crown above his head, as he bid farewell to the crowd one last time.

Besides Queen, Freddie did have a small solo career.  He had two full solo albums, “Mr. Bad Guy” released in 1985  and “Barcelona” released in 1988.

In the early 70s, he dated Mary Austin but the relationship grew cold when Freddie had an affair with David Minns in the mid-70s. Mary remained close with Mercury until he passed. In the 80s, Freddie settled down with hairdresser Jim Hutton and the two got “married” even if same sex marriage wasn’t legalized until the 2000s in England. He wore the ring Jim gave him forever, it was even cremated with him. 

In either 1985 or 1987,  Freddie was diagnosed with AIDS which was a death sentence back then, proper medications and treatment for it wasn’t really there yet. A few years later Jim was diagnosed with HIV in 1990. On November 24th, 1991 Mercury passed away from bronchial pneumonia resulting from AIDS, he was just 45. He died with his husband at his bedside. Funeral services were held on the 27th and he was cremated shortly after. His ashes whereabouts are unknown and never to be told. There is a memorial plaque with his birth name on it at Kensal Green Cemetery in London England.

Even though Freddie never fathered children he was the godfather to Mary’s oldest son Richard. And he fathered many cats in his lifetime, having somewhat over a dozen cats in his life. Even a black cat showed up at his funeral. This concludes the short long lived life of Freddie Mercury

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[howaminotinthestrokesyet]

Radio Friendly Unit Shifter: The Complete Nirvana Videography

Heart-Shaped Box

Nirvana had originally wanted Kevin Kerslake to direct this video, who had written the initial treatment in July 1992. By the summer of 1993, he had written at least five treatments, which included a shot of Kurt Cobain kissing William Burroughs and another of the entire band hanging by their necks from trees. Yet by the end of August, the band decided to go with Dutch photographer Anton Corbijn. The director seemed initially apprehensive about agreeing to do the video as he had heard Kurt Cobain could act overly detailed in production. He would say, “But then I looked at it and I thought that actually it was pretty good. I was very amazed by somebody writing a song and having those ideas as precise as he did." The video begins with the band standing in a hospital room around an old man receiving an IV drip, then moves to a surreal Wizard of Oz type of outdoor setting. The same old man in a Santa and later Pope hat climbs on a crow infested cross as they sing the song. The video also includes a young girl reaching for fetuses in a tree, while at the same time an overweight woman appears with human organs painted on her chest with a pair of wings. Many of these ideas were actually conceived by Corbijn, not the band as he always came up with the ideas on his own for any of his videos. Upon the promotion’s release, Kevin Kerslake sued the band for copyright infringement, as the case would be settled out of court. Upon its release, the clip became the most played video on MTV eventually garnering two video music awards for Best Alternative Video and Art Direction. Dave Grohl, Krist Novoselic, and Pat Smear accepted the awards as Kurt Cobain had already passed. New Musical Express named it as the 11th best music video of all time, while Time magazine called it the number 10 music video ever saying it was both “beautiful and terrible.” In 2016, Dave Grohl reunited with the young girl from the video, who had this to say about the reunion. “Today reminded me that I peaked at 6 years old but I was the most badass kid on the playground. Today was the absolute coolest. Or in Dave's words seeing each other today was a 'historic moment'! What a legend!”

Sliver

A music video for the song was released in 1993 to promote the compilation album, Incesticide. The video would be directed by longtime collaborator Kevin Kerslake. The clip begins with Kurt Cobain holding his young daughter up behind some cardboard as she dances along to the first few seconds of the track. The video moves to Cobain’s garage, where it shows the band performing the song. Dave Grohl is playing on the drums, even though he never played on the original song. Cobain only sings into a microphone, but he's never seen playing guitar. He is wearing a red mohair sweater that Courtney Love had purchased for him from a fan at a Nirvana show in Belfast, Northern Ireland. His whole garage is filled with toys and decorations the singer had placed in storage just before the release of Nevermind that he had collected over the years. The collection included a Chim Chim toy monkey that was given to him from the Japanese band Shonen Knife.

Come As You Are

This video would actually be the first one directed by Kevin Kerslake, who was hired after such a negative experience with the director on Smells Like Teen Spirit. The concept would be developed by Kerslake as Cobain could not come up with any ideas, so he let the director develop the video. The singer’s only requirement was that some kind of reference be made to the cover of the Nevermind album. The clip shows the band in a dark room as water falls around them obscuring their form. Other images include Cobain swinging from a chandelier, a dog wandering around the room, a baby swimming in a pool, and a pistol falling underwater. The end of the video shows the entire group lying on the ground as Cobain kisses the camera.

Lithium

This video originally had a concept of doing a short animated story about a female girl named Prego. This girl lives in a forest, when she finds some eggs and takes them to a king in a nearby castle. Unfortunately, both Kevin Kerslake and Cobain discovered that it would take four months to produce the video, so they abandoned the idea. Kerslake instead created a collage of concert footage for the video made up of their 1991 Paramount Theater concert and other footage from the 1992 film, The Year Punk Broke. Biographer Michael Azerrad would make this critical comment about the clip. "Although [the video] was enlivened by Kerslake's neat trick of using more violent footage during the quiet parts of the song and vice versa, it was something of a disappointment from a band and a song that promised so much."

You Know You’re Right

Chris Hafner directed this video released in October 2002 to coincide with the single of the same name. The clip shows a montage of The band in either concerts or interviews, but giving the impression that they are actually performing the song. The video would reach number two on Billboard’s music videos chart. New Musical Express would go on to nominate it for Best Music Video in 2002.

In Bloom

Two versions of this video exist. The first one showed clips of the band walking around New York City and performing at Maxwells in New Jersey. In the clip, one can see Krist Novoselic in some shots has hair and others a shaved head. The reason for that comes from the fact that he had to shave it as punishment for a mediocre performance during a show at the Pyramid Club. They made this alternate version for a compilation dvd on the Sub Pop label, Sub Pop Video Network Volume One. The second version, which most people remember is called the Nevermind version. This promotional clip would be directed once again by Kevin Kerslake and released in November 1992. Kurt Cobain’s original concept for it was to tell the story of a young girl born into a Ku Klux Klan family until she realizes the evil nature of her parents, but the concept seemed much too difficult to work out. He then switched it into a parody of 1960’s television shows like the Ed Sullivan Show. The entire video was shot in original cameras of the period in Kinescope, while the band did the entire song without a script. The actor playing the host was Doug Llewellyn, who had worked as the reporter interviewing people after their case on the People’s Court. Cobain wanted to make a funny parody video to show that there was another side to Nirvana. He felt “so tired for the last year of people taking us so seriously . . . I wanted to fuck off and show them that we have a humorous side to us.” The entire band would wear suits during their performance, while the Nirvana frontman had glasses that eventually made him quite dizzy. He would later say in a Melody Maker interview that they wanted to parody groups like the Dave Clark Five, but not the Beatles. He would never mock the Fab Four due to their influence on his songwriting. In the clip, Novoselic is wearing short hair, which he liked so much that he never changed it. They eventually destroy all of their instruments and the stage by the end of the song. In Bloom would go on to win the 1993 MTV Music Video Award for Best Alternative Video.

Smells Like Teen Spirit

This video would be directed by first timer Sam Bayer. The director believed that he actually got hired because the work on his résumé seemed so below average that Nirvana thought that it would represent the opposite of anything remotely corporate. The concept developed by the band was to stage a school concert that ended in a riot. The idea had been based on the films Rock ‘n’ Roll High School starring the Ramones and The 1979 film, Over the Edge. The clip begins with the band playing the song during a pep rally in a high school gym as cheerleaders wearing sweaters with the anarchy symbol on them cheer along. Every so often, the camera cuts to a janitor dancing alongside his broom. The video ends with the apathetic students going from the bleachers to the gym floor in a full-scale riot. The apathy from the students was actually real as they had been sitting on the bleachers all day. Cobain was finally able to convince Bayer that the students should be allowed to mosh at the end of the video. The singer said, “Once the kids came out dancing they just said 'fuck you', because they were so tired of his shit throughout the day.” The Nirvana frontman hated the directors final edit of the video so much that he went in himself creating what became the final version. Upon its release, Rolling Stone’s David Fricke would say that it was “the greatest gig that you could ever imagine.” The video would go on the win MTV Video Music Awards for Best New Artist and Best Alternative Video. In 1999, the video was named the number three music video of all time on a list put out by MTV. VH1 named it number 18 in the greatest television moments in the history of music as alternative music now became a “commercial and cultural force.” At the end of 2019, the video had been viewed 1 billion times on YouTube.

[onestowatch]

Aidan Gallagher Has No Limits [Q&A]

Photo By Allan Zaki

There are many facets to Aidan Gallagher. On the surface, his scene stealing prowess as the co-star of The Umbrella Academy has catapulted him to an immense level of popularity on a piece of prime real estate amongst Hollywood’s brightest young A-List celebrities. But beneath the surface of this 17-year-old actor lies a multi-instrumentalist. An independent singer-songwriter who doesn’t seem to care about the mainstream attention that his music may garner in the future, only the substance for which it can bare.  Musically, his original compositions like “I LOVE YOU” and “4TH of July” draw early comparisons to acoustic-pop artists like Jack Johnson and Passenger. While lyrically some of his introspective words jump off the paper as if they were indie pop-ballads written by singers like Jason Mraz or Aqualung back in 2003.

For Aidan Gallagher the musician, the year 2020 began with a sold-out show at the Troubadour in his hometown of Los Angeles, California. This live performance on January 6th was supposed to be his introduction to the tour life. In fact, a couple weeks later, he even announced that he would be playing a live set at SXSW in March.  But…just as quickly as the Neon Lights Tour began, it came to an abrupt end due to the Covid-19 pandemic.  Although his first ever headlining tour has been temporarily delayed, it hasn’t stopped Aidan Gallagher from publishing fresh content for his listeners along with a series of new music videos.

There are many facets to the year 2020. On the surface the pandemic this year alone has derailed the plans of some of the world’s most talented independent recording artists. But when you’re an intuitive songwriter like Aidan Gallagher, times like these can provide the backdrop for some of the most emotional compositions that you may create.

We caught up with Aidan Gallagher to talk about his emotional subject matter, his dream collaborations and his future plans to balance his music endeavors with a budding acting career.

Ones to Watch: With all of the success that you've enjoyed over the course of the past two years, you've become one of the most recognized actors in young Hollywood. But now you're starting to get a lot more attention as a recording artist. In fact, you currently have four music videos that have garnered over 1 million views on YouTube. Those are very impressive feats to have accomplished without the support of a major record label. What was your personal goal when you first started releasing music? And are you happy with the reception that your music videos have received so far?

Aidan Gallagher: There was always less of a defined personal goal in terms of a release schedule other than just to make great music and put it out there and if people enjoy it, that’s really gratifying. I’ve always made music as a means of working out emotions and because it’s one of the most rewarding hobbies one can have.

Two singles that you've released this year are "I LOVE YOU" and "Blue Neon." Lyrically, they're both heartbreaking tracks that teenagers can relate to. But you also reference some introspective experiences that many adults in their 20s or 30s can relate to. What inspired the lyrics to these songs?

I've often found that the melodic structure and the micro-tonal characteristics of a riff are what inspire the emotional landscape of a song. When I hear music, I see colors and shapes and textures that I couldn't necessarily describe to another person. I let that imagery inform my emotional state and the subject matter of the song. The lyrics always coincide with this. Sometimes the lyrics relate more to the music than myself and other times they are stripped word for word from my own personal experience. Either way the lyrics always come from an honest place. I don't see how you could create anything of value without that.

“4th of July" is a Folk song that pulls on the heart strings of your listeners. The date is very specifically addressed in your lyrics, so why did you choose to release the music video on August 1st instead of the actual day of July 4th?

Thank you! I’m really proud of that song. It brought together a lot of what I’ve been learning about music production and engineering. It gave me a chance to show what I can do. A lot of people have asked about the timing of videos and our team has found through the advice of some very wise music industry people and just trial and error that it’s best to release a listening only video first. I like the idea that people will listen to the work before they start dissecting the visuals. I want them to have their own interpretation and not necessarily the visual scenery I put on it.

Of all the musicians and bands that have released music videos in 2020, which ones have inspired your imagination the most, when it comes to creating your own videos?

I often find myself influenced by a variety of artists across musical genres. To give an example or two, I really love what Jacob Collier and Finneas are doing with their videos. But at the same time, some of my favorite videos are the ones that are stripped down, and the artist is just performing their song in a studio or on a stage. I think it puts a beautiful focus on the music and the emotional texture of the song.

The 2020 Blue Neon Tour was going to be your first heading tour, but it was cancelled back in January due to the Covid-19 pandemic. Can you tell us a little bit about what you had in store for this tour?

Well, I was lucky that I got a chance to kick it off at the Troubadour here in Los Angeles.  Just that alone was pretty cool. I had a full tour planned to go around the country and then travel to international cities and do meet-and-greets with my fans and really connect. I was really looking forward to my first SXSW performance, so that was a really hard pill to swallow when they cancelled the festival. But all things considered, I’ve been incredibly lucky in my life and my little plans pale in comparison when you look at the state of the world right now.

How many songs have you recorded since the pandemic shutdowns began? And will you be releasing an EP or debut album anytime soon?

“I Love You” and “4th of July” were released this year but everything else I’m doing is currently in a state of flux. I’ve definitely got the songs but it’s a balance of finding the time to put into recording them. I have a large catalog that I’m really proud of that will be coming out one at a time as I can get to it. With (Covid-19) it’s really slowed down my ability to record because I have to engineer everything myself. With “4th of July” I had 3 different engineers on rotation come to my house to work so it kept me working on a strong schedule and we knocked it out fast. When (Covid-19) put everyone in quarantine I lost that team and schedule. We’ll get it back though.

Who would your dream collaborators be for a full-length studio album and why?

Wow, I mean, if I was ever lucky enough to work with any of my idols, I’d be over the moon. If I got to collaborate with another artist for an entire album it would probably be on a production or writing level. I’d love to work with John Mayer, Finneas, Charlie Puth or Ed Sheeran.

If you could pick any film director to direct the first music video from your debut album who would it be and why?

Honestly, I don’t think in terms of music videos. I only think about music. Once a song is produced then I have the luxury to get into the ideas for a video. I do have some raw visual impressions in my mind of what the song means to me but it’s hard to say until the song is done. Though there are many film directors that I’d love to work with as an actor such as Wes Anderson, Quentin Tarantino, Damien Chazelle and the list goes on and on and on.

We heard that you're a United Nations Goodwill Ambassador. Tell us about your work with the UN. What made you want to get involved with their efforts to stop Illegal wildlife trade? And why has it been so important for you to shed more light on the animal agricultural industry?

I can’t begin to tell you what a privilege it has been to be able to magnify my concerns about saving our planet through their channels. The environmental crisis is the largest and the most complex problem we face in the world. I have always wanted to use the platform I lucked into as an actor to showcase that. It all started with not being able to go surfing after a rain and that led to many realizations about carbon emissions and the role of the animal agriculture industry in those emissions. I don’t want to seem preachy to people or judge anyone’s choices, but I do want to spread awareness as I learn from the world’s top scientists. The truth is that if we don’t take aggressive action in the next few years, my generation isn’t going to have a viable future in a collapsed environment. The UN is calling the next ten years the "Decade of Action.” As individuals, there are a lot of small steps people can take that make a huge difference collectively such as “Meatless Mondays”, cutting down on single use plastic and cash voting for the environment with your daily spending.

You launched a five-part Q&A series on your YouTube channel back in September. Most of the questions from your fans were centered around your role as Number Five on The Umbrella Academy. Are you planning on creating any new content for your channel that primarily focuses on your musicianship and artistry as a songwriter?

I have a lot of plans for all kinds of content and ways to stay engaged with fans and it all makes me really happy. I’ve been doing music performances for my Patreon members every week, and music performing has always given me happiness. I bet a lot of performers are experiencing depression once they lost the ability to tour. Patreon brought back that happiness to me. Not every person who follows me is into my music, so it’s just for those who are and who would come to a show if I were touring in their city. I try to balance my time between the various things I’m passionate about; however, the past few months have really been about promoting the vote.

You play the guitar and piano. In addition to singing, producing and engineering. Take us back to the early stages of your timeline as a musician. Were you a self-taught musician or did you have instructors and mentors help you develop your skills?

Well, when you're first starting out you generally work on covers to develop your skills with your instrument while also making it fun. Once you can play the chords and you have an understanding of how your instrument works, you can learn things at your leisure. I started off taking lessons but eventually I stopped due to production and had to let my ear guide my learning. That's also when I started writing songs. I never took lessons for songwriting, I just watched YouTube. In particular I remember John Mayer’s seminar at Berklee College of Music to be a defining influence on my methodology for songwriting. As for producing and engineering, I'm completely self-taught and rely only on YouTube research and my own musical instinct to create.

Most of your songs could be categorized as Pop-Rock. What other genres of music would you like to incorporate into your sound?

I like all kinds of music, so I’m not necessarily trying to find a genre to incorporate but I guess you get influenced by whatever you are listening to. Genres are so blended these days, and I really think music operates on more of a spectrum than it does on individual categorizations of itself.

Who are your top five Pop-Rock artists/bands of all-time? And why?

There’s way more than five!  But since 5 is my lucky number I’ll try to narrow it down but it’s not in any order. Also know that this list is characterized by how I define Pop-rock. My Chemical Romance, The White Stripes, David Bowie, Queen and Foo Fighters.

We noticed that you filmed season two of The Umbrella Academy in Toronto. How do you think the experience of living in that city helped shape you as a songwriter and artist?

I think in order to write about life you have to live life. At this point in my life, I don't at all consider myself worldly as I simply haven't lived long enough and because of that I find that a lot of my music is introspective, and my songs often feel like the places I've written them. By putting yourself in new environments, I think it pulls new ideas out of you. Travel broadens the mind.

Hypothetically speaking, if you had to choose between winning a Grammy Award as a solo artist or a winning Academy Award with the entire cast of The Umbrella Academy, which option would you pick?

Awards aren’t why I make music or act. I don’t think about them. I just love music and acting. Any part I can play in those fields brings me happiness and I'd love to experiment with the different aspects of those art forms. Initially I got into acting because I wanted to be a director. I also loved listening to music, but I had no idea I would be a musician until I started taking piano lessons.

What’s the plan for your music career moving forward? Do you plan to continue to release material independently or would you prefer to be signed to a major record label?

It was a hard decision, but right now it’s best for me to remain an independent artist as I’m growing my music and balancing an acting career. I had really exciting offers from major labels, but they all want me to drop acting and tour full time. I also really enjoy having creative control over my songs. For the past couple of years, I’ve mostly been writing and because of that, I’ve built up a huge catalog of music to produce when I get the time. After that I’m really looking forward to being able to perform more and on tour.  For the time being, I’m really excited about catching up with what I’ve written so that I’ll finally be in a place where I can write a song and begin recording it the next day.