#nylon guys magazine interview

[myfavebandfizz]

Nylon Magazine 2023

THE WEIRD AND WHIMSICAL WORLD OF INDIE POP SUPERGROUP FIZZ

Songwriters dodie, Orla Gartland, Greta Isaac, and Martin Luke Brown are making songs of silliness and excess.

by EMILY MASKELL

NOVEMBER 1, 2023

Photo by: Nicole Ngai

FIZZ makes music that sounds like the sonic equivalent of dropping Mentos in a Coke. On their song “The Grand Finale,” an explosive reaction of pop sensibilities and playful lyricism transforms into a melodic menagerie that plays like “Bohemian Rhapsody” from another dimension.

FIZZ is the vivacious pop outfit of pop singer dodie, Irish songwriter Orla Gartland, experimental musician Greta Isaac, and sonic aficionado Martin Luke Brown — four best friends from the U.K. who individually boast successful solo careers and have now become one of indie pop’s newest supergroups: think boygenius but with a heaping dose of whimsy. Their paths crossed professionally at first, singing backing vocals and playing in bands for each other’s solo work, but the exact moment FIZZ came into fruition is a murky memory. “There’s a text dodie sent to Orla, around 2021, like, ‘Do you want to start a band,’” Martin tells NYLON, but this is only a trace of the band’s formation. FIZZ was born from the quartet’s natural evolution from colleagues to friends to bandmates.

Uniting their fan bases with an otherworldly exploration of escapism, FIZZ celebrates the sacredness and silliness of their friendship on their debut album, The Secret To Life. Its 12 songs spin twenty-something existentialism into maximalist psychedelic theatrics. “Blink twice, you’ll miss the highlights/ God, it’s a hell of a ride,” they harmonize over crashing drums on “Hell Of A Ride,” balancing lyrical angst with a wide-ranging sonic landscape. The band is built on an aesthetic of excess: maximalist in color and energy in the world of FizzVille, where FIZZ’s album resides.

Between giggles and mimicked guitar riffs, the energetic four-piece chatted with NYLON over a recent Zoom call about the making of their debut record, touching on how they found collective creative freedom, channeled feminine frustration, and built an eccentric world for themselves with The Secret To Life.

This interview has been condensed and edited for clarity.

NYLON: You all were friends long before bandmates, but do you remember the moment you became FIZZ?

Martin: We don’t really know. We’d all been down to Middle Farm Studios to do live sessions for Orla in 2021, and Pete, the guy who runs Middle Farm and produced our album, said: “Seeing you guys perform together is really cool.” I booked [the studio for] a week but we didn’t know what it was going to be. I wanted it to be a holiday from our music careers. We wanted this to be egoless where we’re not thinking about how [the music] is perceived or aiming for radio. All of those things start coming into your mind the longer you do it because you want to have a feasible career, but we wanted just pure fun. It was an exercise in letting go and saying yes to everything.

What does being in a band together mean to you?

Orla: For me, it’s letting go. It’s easy to get bogged down in details when it’s your name and face, but trust falling back onto each other with every aspect of this project allowed me to not sweat the small stuff.

Martin: The moment you start promoting stuff you feel like it might be contrived, or you’re exaggerating for the sake of people’s consumption. But the music’s so untainted, it’s a time capsule. The songs are made out of joy, love, silliness and friendship. I’d never really get that in my own project.

Greta: What’s been special is capturing the in-between of what happens in music. It’s the things you don’t hear on a record: the energy of the room before you hit record and the mistakes you make but correct. There’s a tactile energy between people when you play in a band.

dodie: I never really had a successful writing session before FIZZ. I’d try but feel so stuck on what I wanted to say. Writing with these guys was the complete opposite. All of my ego and technicality came up but then I’d be like, “Fuck it! Who cares!”

“IT’S A MIRROR TO BEING IN YOUR TWENTIES, FROM BEING SUPER VULNERABLE TO BEING STUPID.”

You said FIZZ was something else before. Did the band originally have a different name?

Greta: Chairs!

Martin: We were pretty close to being called Drew Bandymore.

dodie: It’s so stupid. We should’ve done it and gone on her talk show.

What was the writing process like? Were you all bringing in bits from your solo work?

dodie: It was a mixture. Usually, Orla would write a verse and chorus. Or, one time, Gret and Martin were in the bath, I came home, and they were like, “Record this!” I put my phone through the door and did not look! That turned into a song called “Strawberry Jam.”

“Strawberry Jam” is one of my favorites, but “As Good As It Gets” stands out as this immense track cathartically tackling misogyny. How did the song come together?

Greta: Originally, it was a lot more pop punk, “American Idiot” vibe. But we started to realize, thematically, [the track] was leaning toward the feminine experience. Matt, our drummer, and Martin on the piano were guiding it. They were the solid pillars that meant Orla, dodie, and I could express ourselves lyrically and melodically.

We wanted [“As Good As It Gets”] to be poetic: it starts off as something typically feminine, soft and gentle, like the way we’ve learnt to move in the world. The whole song is just about realizing your worth. It’s not coming to this big conclusion, it’s just a, hang on, wait, when did I choose any of this?

The record moves between that vulnerability and playfulness, like on “Rocket League.” How did you all find that balance?

Martin: Honestly, we’d think about what song goes where and what we need at a certain point in the album. Generally speaking we just followed our energy. The quiet stuff like “You, Me, Lonely” and “Lights Out” are the tracks people would expect from us given our [solo] projects, but we didn’t want to do just what people expected.

Greta: It’s a mirror to being in your twenties, from being super vulnerable to being stupid. It feels like a snapshot of this time in our lives. It’s giving range!

It is! The album intro, “A New Phase Awaits You :-),” gives listeners a chance to escape from reality. Was this also an invitation for yourselves?

Orla: I wrote the opening script for that after having a little… [mimics smoking a blunt]. In “The Secret to Life,” we don’t say what [the secret to life] is, so it feels like we’re selling hot air and luring people in with this Scientology energy. But was it an invitation for us to also step into that? Absolutely. Recording that was one of the weirdest fever dream musical moments I’ve ever had. It didn’t feel weird to do a spoken word elevator piece, which speaks to how crazy we all went.

The band and album have such eccentric and unique imagery. How did you land on FIZZ’s visual aesthetic?

Greta: When we were talking about the creative direction of the album, words that kept coming up were: retreat, fantastical, and escape. We wanted to mirror the experience of writing the album in the visuals. We referenced films we liked growing up: Willy Wonka, Alice in Wonderland, and The Wizard of Oz. These technicolor films take place when someone is being taken out of their normal lives and into another world. They’re odd films trying to make something joyful and a little bit strange.

So we made up this world called FizzVille where everything exists, it’s this part-town, part-theme park that creeps up in the digital world and will be a feature in the live show. We worked with [photographer] JP Bonino who helped realize FizzVille. It’s a world that keeps expanding.

This is my most important question. FIZZ, what is the secret to life?

dodie: We don’t know… but I’m starting to think it’s going outside. [Laughs] I’ve changed my mind a lot. I think it’s gratitude.

Greta: I thought you were going to say Gret.

dodie: Gret is the secret to life.

Orla: One of us needs to have a deeper answer to end this interview.

Martin: I think the secret to life is community. Finding your people, looking out for each other, and being nice. Nothing groundbreaking.

FIZZ’s ‘The Secret To Life’ is out now.

[haydennation]

Nylon Guys Magazine Interview

By the time Hayden Christensen suggests that we hop on a couple of snowmobiles and go explore the extent of his 200 acre farm, it’s getting dark outside and the temperature is 10 degrees below freezing. The two hour drive from downtown Toronto up here into bleak, rural Ontario had taken close to four in a rented Toyota Corolla, the last 15 minutes of which were essentially tobogganing down roads closed to all but local traffic. Traffic was invariably composed, I noticed as I slid helplessly down tracks entirely covered in packed ice, of vehicles with very large tires and four wheel drive. Christensen purchased the farm, which is just up the road from his parents; home where he grew up, eight months previously. It’s his first house, and he’s clearly proud of it. “I did those,” he says, gesturing at his kitchen cabinets that are painted so that they appear cracked and aged, and launching into an explanation of the process-‘it takes forever but it sure is worth it.’ He has also tiled the surfaces, painted the walls, replaced the floors, and amassed a healthy collection of antiques from the shops in the surrounding villages, which are scattered throughout the house. Christensen, who was born in Vancouver, is a hands-on kind of guy; the sort who likes to chop wood and rear animals, build decks and grout, hike, fish, ride horses, grow crops, and construct barns. He’s most certainly not predisposed to sitting around and talking about himself and so far now it’s on with full body snowsuits, snowboots, touks as Canadians call beanies, gloves, and goggles and off to an outhouse to start up the snowmobiles. He seems excited, as if he’s waited all day for an excuse to get out there. Out in the barn, though, where he keeps his snowmobiles, ATVs and tractor (“I’m just learning how to use that-it’s harder than it looks”) there’s a problem. One of the machines won’t start. Christensen is crestfallen. “Man, this really sucks,” he says as he pulls one lever after the other on the sleek black machine. “I suppose we’ll have to go on the same one.” It’s a situation that raises an important question; just what am I supposed to hold on to? In the absence of any handles the only options are the actor’s waist or shoulders. I opt for the latter. “Ok, man,” he yells as the engine roars to life, “remember to lean when I lean, and hold on.” It’s been snowing for the past few weeks, but the clouds have parted for the time being and the bright halogen headlights of the snowmobile illuminate fresh powder, at least three feet deep, ahead of us. We fly through open gates, following a recently made trail (“My family came over yesterday,” he shouts. “We hitched a trailer to the tractor and took it out for a picnic”) impressed on the ground. On a gentle slope lie two discarded sleds, one pink one and one blue. (“We were going down the hill on those yesterday.” He says. “Very fun” )  Eventually we get to the top of the hill-Christensen takes off his goggles and stops the engine. “That’s the highest part of my land,” he says, with a grin, “and the highest in the county actually.” At the base of the hill evergreen wildwoods stretch, oblique and forbidding, across the countryside. In the dwindling light the snow, which lies very thick on ever fence-post, branch, and thorn bush, has taken on a blueish hue and the sky-the dark silver of mercury-seems to rest heavily on the land; the moon a chalky thumbprint. Every few miles, off in the distance, the warm lights of a house glow sleepily and implacably against encroaching darkness. “You see that clearing?” says Christensen, pointing to a pale spot a few miles into the woods. “That’s the boundary of my land. There’s a river that marks it, Isn’t it great? I really want to go down there and show you some more. There are trails that I haven’t been on this winter yet, they’d be fun.” And so we head back to the house, where he calls his dad, who informs him where the choke is on the other machine, and what to do with it. Now, with a working snowmobile each, we tear across unblemished snow and down into the forest. Christensen leading and ducking this and that to avoid the low hanging boughs of trees that are covered in snow that scatters like glitter as he passes. “Man.” He says as I pull up next to him by a copse of Douglas Firs, “how fun is this?” “I really want to do everything with the farm,” he says later, sitting one of two large white couches in his living room. The only light is coming from his 60 inch plasma TV showing a hockey match on mute, five or so large church candles, their wax dripping in pools around them, and the fire crackling in the hearth. “There will be dairy cows and probably some sheep. Maybe an alpaca-I hear they’re good for warding off predators. For some reason lavender really appeals to me. I’d like to grow a lot of Lavender. I think that front hay field I want to turn into a big lavender field. Apparently, it’s pretty easy to maintain.” He takes a long drag on his cigarette. “But it’s meant to be a bitch to harvest-you have to cut it all by hand.”

These are the words of a man entirely at ease with himself. Someone, who rich from the success of a starring role in the biggest franchise in movie history, can choose what projects he wants to do and when he wants to do them, and make all his decisions from right here on his couch, watching hockey. (he played competitively until he was 17. “A lot of the guys I played with are pro now”, in front of the fire in the middle of nowhere. “I had a lot of success really quickly but then I was happy not to have anything to do with it.” He says. “I need to not live the insulated life that I think a lot of the people in Hollywood live. I had a really odd relationship with my first agent, because he could never figure out why I wasn’t in L.A. and taking advantage of opportunities there. Star Wars was financially beneficial and all of a sudden I didn’t have a need for my next check and I got to look at acting and my work as really just sort of my own creative expression, and nothing else is really going to affect that. I was turning down what would be considered a lot of money because it wasn’t creatively what I wanted to do at the time.” Today Christensen is such a far remove from Hollywood that it’s easy to forget that he’s still an incredibly in demand actor with the ability to secure lead roles in big budget movies, should he want them. And while his interests mostly lie in developing smaller scale projects like 2003’s Shattered Glass-based on the story of the New Republic journalist Stephen Glass who invented a large percentage of the stories he wrote for the magazine-that Christensen starred in and produced with his brother. His latest project, the Doug Liman directed “Jumper” in which he plays a man with the ability to teleport, is nothing, if grand in scope. “When my agent first called about it. He was like, ‘so there’s this big Fox movie, science fiction, they possibly want to turn it into a franchise,’ and I was like ‘why are we talking about this? Don’t you remember those other movies I just did?” He’s laughing, spluttering over his cigarette. “Then he said “Doug Liman was directing it, I was like “Oh! I was a huge fan of his movies.” In Jumper, Christensen and fellow teleporter Jamie Bell find themselves in the middle of a war that has been going on for hundreds of years between the jumpers (of which there are evidently quite a few) and those who have sworn to kill them; a group led by Samuel L Jackson. Taking place all over the world (We even closed down the Colosseum for three days to shoot a scene”) the film is full of Wachowski brothers-like visual effects and dramatic camera angles. At first it might seem an odd choice for an actor who says he chooses his movies if “there’s something inside me that needs to play the character and needs to be part of the story”. But working with Liman, who insisted Christensen be part a part of a process of ‘figuring the movie out’ wasn’t an opportunity the actor was prepared to pass up. “I felt like I was working with another visionary filmmaker,” Christensen continues. “George Lucas was clearly one of those, and I feel like Doug is too.” Of course George Lucas is the reason anyone knows who Christensen is at all. The reason he is able to afford this house, the one he just closed in on in the Bahamas, all the mechanical toys in his big barn, and the fancy paint for his fancy cupboards. Before Star Wars, Hayden Christensen was an unknown actor living in Vancouver and working on a TV show called Higher Ground that aired on the Fox Family Channel. An agent suggested he audition for Star Wars in LA, which was annoying, he recalls, because he wasn’t making that much cash and had to fly himself down there. “The meeting lasted for maybe 10 minutes and George didn’t even mention Star Wars the whole time so I assumed it didn’t go very well.  I was like, “Well, shit, I just flew all the way down here.” A month went by and Christensen, along with five other actors of which, reportedly Leonardo Dicaprio was one, were invited back to Lucas’s Skywalker Ranch to read with Natalie Portman. “They made sure we never saw each other,” he says with a smile. “Although, they have guest houses on the ranch and when I went for my audition I stayed in a room that I guess one of the other actors had stayed in as well and there was a voicemail on the phone from his mom saying, “I’m sorry it didn’t go well honey, but don’t worry, something else will happen” I was like ‘one down!” A few months later the call came. But as exciting a project as Star Wars was, as guaranteed as it was to be internationally successful, provoke hero worship among oddly dressed fans around the world, and set box office records, George Lucas is not exactly a director known for bringing out the best in people. He is, let’s not forget, the man who made Harrison Ford, Ewan Mcgregor, and even Alec Guinness look like puppets operated by puppeteers who had flunked out of puppetry school. “There were battle ships being rolled across the soundstages and you got to put a lightsaber in your belt every day: You were a hired hand,” Christensen says. “You weren’t there for your own creative expression. It’s a very specific style of acting and it’s all so preconceived…And the dialogue isn’t the easiest to say.” “Sometimes he would even do line readings with us,” Christensen glancing idly at the hockey score. “I would tell him that it’s easier if I don’t hear someone else saying the line because then I have that in my head and I’m just going to try and do that. And he was like, ‘No that’s ok, that’s what I want you to do.” He takes a drag on his cigarette and rearranges himself on the cushion. “It didn’t allow me to do my best work, nor did it any of the actors, but I always went to work thinking ‘This is the most unique experience’-I was just lucky to be there.” The fame that followed Star Wars would color Christensen’s perception of Hollywood forever. “From the day they made the announcement, there were people camped out in front of the apartment I was staying in,” he says. “I would go to a restaurant and all of a sudden there were paparazzi. It wasn’t something that happened over time and it wasn’t because of the work I was doing. This was all because I had a meeting with someone that no one knew about and because someone else decided they liked the way my nose sat on my face so my life was going to change.” Christensen’s understanding that it was the Star Wars name, not his, that was attracting his attention allowed him a “removed perspective” on it that seems to have endured ever since. “They offered me coaches to help me deal with it, but I felt like that was silly,” he says. “But then later I almost wished that I had met with them, because it was so overwhelming. It just caught me off guard and made me have a real sort of distaste for that because it was so extreme and so foreign that I didn’t enjoy it. I shied away from anything that I didn’t absolutely have to do. Everything just happened so fast and so dramatically that it allowed me to keep my distance.” And Christensen made some sacrifices for the films. Contractually obligated for five years, he once had to turn down a part in an Al Pacino movie in order to re-shoot a few scenes in Star Wars. “That really bummed me out,” he says. “When we wrapped, it was definitely bittersweet-I definitely enjoyed the sense of career freedom when they were over.” One of the projects Christensen took on afterwards was Factory Girl, with Sienna Miller, in which he gave a much-arraigned performance as Bob Dylan. “I wouldn’t mind talking a bit about that because that was not the performance I gave,” he says earnestly. Because of legal reasons Christensen’s character wasn’t called Dylan in the final cut. “I signed up to pay Bob Dylan and it’s a biopic. A true story,” he says. “I learned how to at least pretend to play the guitar and did a scene where I wrote a song and performed it. But later, because he threatened to sue, I had to go in and do ADR, redub my whole performance and change the way my character talked, because I has been doing the Dylan voice. I don’t know what’s onscreen in the end because I never saw it, but I do know it’s very different from what I did, and I was sort of pissed with the people who made the movie.” Far from lamenting his lack of privacy while attending exclusive parties at LAX and Cinespace, relaxing by pools of Hollywood’s most famous hotels, or perhaps grabbing a bite at the Ivy, Hayden Christensen just goes about his business 3000 miles away from all that and I’ve never met an actor who seems more at ease with their lot. “I think I do a pretty good job of staying out of tabloids. Paparazzi don’t come up to the farm ever,” he says. A lot of actors, though they complain about it, secretly relish the attention of the press, I suggest. “Absolutely, I’ve met a lot of them,” he says. “I always have an odd feeling about them. It’s like ‘I don’t know how you could really want that sort of change in your life.’ It’s really foreign to me. I don’t have a computer so I’m not exposed to any of the stuff on the internet. I can’t do that.” Suddenly from upstairs, I hear what sounds, unmistakably like an oink. Christensen hears it too. He smiles. “Oh don’t worry about that. It’s just my pigs.” There’s a scrabbling on the floor above-the unusual sound of trotters on polished wood. “I should probably go up and feed them,” he says, stubbing out his cigarette and stretching-it’s getting on a bit and he is hosting his family for dinner later. “Wanna come see?” Buddy and Petunia are a pair of pygmy pot-bellied piglets that Christensen acquired a few weeks earlier. (“I only wanted one, but apparently they get lonely”) and that are currently living upstairs in his house; running around in the hall, the spare bedroom, and the newly finished bathroom floor, upon which the four of us are now sitting. He leans over and rubs the tiles. “This wasn’t easy,” he says as Buddy climbs up onto his lap to be scratched behind the ears. “You have no idea how hard a simple pattern like this is to do. I cut the tiles myself!” “I feel really content,” he says. “I think for a while I was having a hard time enjoying the privileges I incurred from working and was pretty much living out of a suitcase. I’ve really enjoyed getting to collect toys and having a dirt bike that I can ride. And in my personal life I’m at a healthy place right now with my relationships [Christensen is dating Rachel Bilson whom he met on the set of Jumper]. I’ve done a lot of growing up since I was 19. I’ve learned a lot. And the more I learn the more I realize how little I know. Before, my agents and the people that I’m in contact with for my work wanted me to be something I wasn’t. They wanted me to pursue things I didn’t want to do, but now I feel more comfortable in my own skin.” “I don’t think I’ll ever have the desire to become something else and give up acting,” he continues. He glances out of the window; it’s dark now and his yard-skeletal trees pitched against the wind-is illuminated by Christmas lights wrapped around the fence. “You know there’s enough space down on the other side of the hill to put a landing strip for a little prop plane,” he says wistfully. Both pigs have now climbed onto him and are snuffling into his stomach. “I’m actually going to try and get a pilot’s license.” I read an interview with you from about five years ago in which you said it was a struggle to protect your integrity and dignity in this industry, I say. But you don’t seem to be struggling now. Holding Buddy up so they’re snout to nose, Christensen scrunches up his face to mimic the pig’s. “Well, I think that’s because I did struggle with it before,” he says putting the pig back on the floor, where it promptly falls over. “But now I’ve got no problem with telling them all to fuck off.”

[thegayhimbo]

Hey! I’m rather new to true blood (like nearly ten years after the show ended) but could you link some of the interviews that they guy who plays bill says that bill is a rapist? I’ve yet to see anything in the show that even sorta implies that (I’m only in season 3)

There are two interviews I know of:

1.) Stephen Moyer gave an interview to Nylon Magazine in 2009 where he said Bill’s intention was to rape Sookie in the graveyard in season 1:

"It’s one thing to be polite and gentle… But when do you know it’s OK to crawl out of the mud and rape her [as Bill does in one scene]?"

Source: https://www.trueblood-online.com/anna-paquin-nylon-magazine-september-2009/

In season 3, it's revealed that Bill was sent by Sophie Anne to procure Sookie, and he allowed the Rattarays to beat the shit out of Sookie to feed her his blood. Said blood in-universe is shown to be a cross between a drug that fucks around with a person's mental and emotional state, and a powerful aphrodisiac that creates a sexual attraction to the vampire you take it from. Bill deliberately put her in a life threatening situation so he could pretend to be a hero, drug her with his blood, and withheld information about how the blood worked (like that Sookie would be having erotic dreams about him and him ONLY) so he could gaslight her into believing she developed feelings for him on her own accord as an attempt to weasel his way into her pants. Then, according to Moyer, Bill intended to force himself on Sookie in the graveyard, and he was doing it while she was still under the influence of his blood.

If you deliberately drug someone and proceed to have sex with them while they're under the influence, it's rape. If you intend to force yourself on someone (which is what Bill was doing in the graveyard), it's rape.

2.) Stephen Moyer also gave an interview at Paleyfest 2011 where he talked about the Bill/Lorena neck-twisting scene from season 3:

"That particular scene was so.......I was worried about it. Probably not for the reason you think. I was worried about it because I........I couldn't see where Bill was going with that. What was the reason to turn ANGER into RAPE. And Alan and I talked about it, and I called Alan personally, and we talked about it, and..........it's the only thing he has over her."

Source: https://www.trueblood-online.com/video-excerpts-from-true-blood-panel-at-paleyfest-2011/ It’s the first video, between the 8:00 and 10:00 mark.

EDIT: Denis O'Hare (who plays Russell Edgington) also referred to Lorena in the season 3 DVD commentary as a rape victim because of what Bill did to her, and alluded to her being psychologically messed up.

If I find any more interviews or commentaries about Bill being a rapist, I will come back and update this post.

[finnwolfhardfan]

Finn and the boys are featured in the September 2017 issue of NYLON Guys magazine, which hit newsstands Friday!

The link above will take you to their featured article where the four boys talk about how they met, their friendship on set and how it different it is from their outside friendships, fielding season 2 questions and dealing with fame. They do talk a liiiiitle bit about the upcoming season, Finn in particular, so warning: there are mild spoilers for Stranger Things season 2 in the article. Nothing huge, but still, if you don’t want to know anything at all about this season, be careful.

Images from the photoshoot will be uploaded to our Image Gallery in a few minutes!

For the latest Finn Wolfhard news, info and pics, visit FinnWolfhardFan.com. Follow us on social media! [Twitter + Facebook + Instagram + Tumblr]

[justforbooks]

Bucky Pizzarelli, whose guitar mastery extended to seven strings, dies at 94 of coronavirus.

Bucky Pizzarelli, one of the nation’s preeminent seven-string guitarists, who began his career as a coveted sideman and studio musician before stepping out on his own and forming an acclaimed jazz duo with one of his sons, died April 1 at his home in Saddle River, N.J. He was 94.

The cause was the coronavirus disease covid-19, said his son John Pizzarelli, a guitarist and singer with whom Mr. Pizzarelli formed one of the rare father-son duos in jazz.

Mr. Pizzarelli honed a gentle, richly textured sound while playing as an accompanist and solo artist, performing lyrical improvised solos that typically featured chords rather than single notes.

Although he began his career in the 1940s, touring as a teenager with singer Vaughn Monroe’s dance band, he came into his own after acquiring a seven-string Gretsch guitar in 1969, inspired by seven-string pioneer George Van Eps.

The instrument featured an extra bass string, which Mr. Pizzarelli used to virtuosic effect in swing-era standards, Brazilian bossa nova and songs by the Beatles, Burt Bacharach and Henry Mancini. A fixture of the New York jazz scene for decades, he was also a staff musician at ABC and NBC, where he played with the “Tonight Show” band and tuned Tiny Tim’s ukulele before the musician got married before a TV audience of millions in 1969.

Mr. Pizzarelli spent much of the 1950s and ’60s inside recording studios, where he arrived early to practice his nylon-string classical guitar and did three sessions a day, recording tracks such as Dion’s “Runaround Sue,” Ray Charles’s version of “Georgia on My Mind,” Ben E. King’s “Stand By Me” and Brian Hyland’s “Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini.”

He also performed with the pop group the Three Suns, toured across Europe with Benny Goodman and collaborated with artists including Buddy Rich, Tony Bennett, Frank Sinatra, Wes Montgomery, Zoot Sims, Bud Freeman and French violinist Stéphane Grappelli, the former musical partner of his guitar idol Django Reinhardt.

But he was perhaps best known for his work in guitar duos, including with George Barnes, one of the first artists to record with an electric guitar. “Their duets are built on the contrast between the soft, dark sound of Mr. Pizzarelli’s thumb and finger plucking and Mr. Barnes’s use of a pick to produce high, tight phrases that dart and dazzle over his partner’s foundation lines,” New York Times jazz critic John S. Wilson wrote in 1970.

“They may be light and airy — a perfect soufflé of sound — and then go rollicking off through rapid-fire lines that wrap around each other, chase each other, join in unison and set up challenges of the musicians and the listening ear,” he added. “This is a brilliant and unique team.”

Mr. Pizzarelli and Barnes recorded a 1971 album, “Guitars Pure and Honest,” but within a year began “to detest one another,” according to a report from the New Yorker jazz critic Whitney Balliett, who witnessed a chaotic performance at the St. Regis Room in Manhattan that brought the musicians’ rivalry into public view.

“The guitarists’ swan set was played not on their instruments,” he wrote, “but on each other.”

Mr. Pizzarelli found far less drama while performing with members of his own family. His 1972 album, “Green Guitar Blues,” featured a duet with his 14-year-old daughter Mary, whom he trained on classical guitar. By the end of the decade he was performing with his son John, with whom he recorded albums such as “2 x 7 = Pizzarelli” (1980) and “Twogether” (2001), which featured duets of jazz standards.

In time, they also performed with Mr. Pizzarelli’s other son, bassist Martin Pizzarelli, and with John’s wife, singer Jessica Molaskey, forming a group that John Pizzarelli likened to “the von Trapp family on martinis.”

“I learned by sitting with him on the bandstand,” John Pizzarelli told TV interviewer Steve Adubato in 2013, accompanied by his father. “It was trial by fire. He would just play melodies and stare at me.” (“We don’t get mad,” Bucky Pizzarelli told the New York Times, “but we knock heads once in a while. I don’t interfere.”)

In a 2016 interview with Inside Jersey magazine, jazz guitarist Ed Laub, a onetime pupil of Mr. Pizzarelli’s, recalled a piece of advice from his former teacher: “If you’re planning on being a professional musician, you need to understand that your job is to always make the other guy as good as he can possibly sound. It’s not about you.”

For Mr. Pizzarelli, Laub said, “It’s about making beautiful music. It’s not about grandstanding.”

Mr. Pizzarelli was born John Pizzarelli on Jan. 9, 1926, in Paterson, N.J., where his childhood classmates included poet Allen Ginsberg. His parents owned a grocery store, and his father played the mandolin and nicknamed his only son Bucky, out of a love for cowboys and the American West that he had nurtured since working in Texas as a teenager.

His uncle Bobby Dominick was a banjo and guitar player who “looked like a million dollars every time I saw him,” Mr. Pizzarelli told George Cole, author of the Miles Davis history “The Last Miles.” “He had a suit, a new car and he was picking up 50 bucks a week on the road with all his bands. . . . When I saw that, I said, ‘That’s what I want to do.’ ”

Mr. Pizzarelli learned the basics of music during Sunday jam sessions that included Bobby and another uncle, Pete Dominick, as well as Joe Mooney, a blind Paterson jazz accordionist. Influenced by guitarists such as Reinhardt, Freddie Green and Charlie Christian, he went on to perform at weddings and dances before joining Monroe’s dance band at 17.

He was soon drafted into the Army and, at the close of World War II, served in Europe and the Philippines, where he “spent nine months doing nothing,” as he put it, aside from playing guitar. He returned home to spend five years with Monroe and join NBC.

Mr. Pizzarelli’s records included “The Red Door” (1998), a tribute to Sims, featuring Scott Hamilton on tenor sax; and “5 for Freddie” (2007), a tribute to Green with pianist John Bunch in the role of Count Basie, Green’s longtime musical collaborator.

At home in Saddle River, he presided over what one journalist described as “a living jukebox,” where Goodman dropped in to nap, Sims swam in the family pool, bassist Slam Stewart stayed over and impromptu performances broke out almost daily, with most family members taking part. Mr. Pizzarelli’s wife of 66 years, the former Ruth Litchult, did not play an instrument but “knows music and can say what’s good and bad,” her husband told the Times in 1973.

“I’m a critic mostly when he plays too long or when it’s time for dinner,” she said.

In addition to his wife, survivors include four children, Anne Hymes of Orlando, Martin Pizzarelli of Saddle River and John and Mary Pizzarelli, both of Manhattan; a sister; and four grandchildren.

In recent years, Mr. Pizzarelli told Cole, the music scene had transformed, and the kind of playing he did in studio bands was all but nonexistent. “Guitar players — it’s mostly effects,” he said. “Guitars in the hands of these kids today are weapons!”

Still, he plowed ahead, playing dozens of club dates each year and maintaining the approach that had fueled his career for nearly eight decades. “Every day I get up and I try to correct what I screwed up the night before,” he said. “That’s my theory. I prepare for the next time. I’m playing mostly live dates now and that’s a big thrill, because that’s the ultimate — to be in front of people.”

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[fromthedust]

Tony Mottola - String Band      

Bye-Bye Blackbird      

Command RS-828-SD

1961 

  Tony Mottola, Don Arnone, All Casamenti, Allen Hanlon (electric guitars) Al Chernet & Bill Suyker (mandolin, banjo, ukulele) Barry Galbraith (rhythm & ukulele) Bucky Pizzarelli (bass guitar) Artie Ryerson, Dick Dia, Carmen Mastren, Bobby Dominick (assorted strumming) Phil Bodner & Stanley Webb (reeds) Domenic Cortese (accordion) Phil Kraus & Bob Rosengarden (mallets & percussion) Bob Haggart (string bass)

John Paul "Bucky" Pizzarelli (January 9, 1926 – April 1, 2020)

A fixture of the New York jazz scene for decades, he was also a staff musician at ABC and NBC, where he played with the “Tonight Show” band and tuned Tiny Tim’s ukulele before the musician got married before a TV audience of millions in 1969.

Mr. Pizzarelli spent much of the 1950s and ’60s inside recording studios, where he arrived early to practice his nylon-string classical guitar and did three sessions a day, recording tracks such as Dion’s “Runaround Sue,” Ray Charles’s version of “Georgia on My Mind,” Ben E. King’s “Stand By Me” and Brian Hyland’s “Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini.”

He also performed with the pop group the Three Suns, toured across Europe with Benny Goodman and collaborated with artists including Buddy Rich, Tony Bennett, Frank Sinatra, Wes Montgomery, Zoot Sims, Bud Freeman and French violinist Stéphane Grappelli, the former musical partner of his guitar idol Django Reinhardt.

In a 2016 interview with Inside Jersey magazine, jazz guitarist Ed Laub, a onetime pupil of Mr. Pizzarelli’s, recalled a piece of advice from his former teacher: “If you’re planning on being a professional musician, you need to understand that your job is to always make the other guy as good as he can possibly sound. It’s not about you.”

www.jazz-on-line.com

[2cloud9]

Nine on tv shows, radio stations and more! (Feb 2019 - Last updated 24/02/2019)

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รายการทีวี / TV shows

- ชีวิตดี๊ดี (Cheewit DeeDee) - Feb 06 (x)

- ET Thailand - Feb 07 (x)

- ข่าวช่องวัน เสาร์-อาทิตย์ (One31 channel’s news on SAT-SUN) - Feb 9 (x)

- NineEntertain  (เมาท์แม่ 555 - Talked about his movie, his new projects & his mom lol) - Feb 11 (x)

- ข่าวเช้าช่องวัน (One31 Channel’s News) - Feb 14 (x)

- ดาราแลนด์ (DaraLand) - Feb 14 (x)

- แฉ (Chae Show) - Feb 14 (x)

- บ้านพระรามสี่ (Baan Rama IV) - Feb 15 (x)

- รีวิวบันเทิง (Review BanTerng) - Feb 15 (x)

- สวัสดี Station (Sawadee Station) - Feb 16 | Part 01 (x) Part 02 (x) Part 03 (x)

- Friend Zone Special - Feb 16 | Part 01 (x) Part 02 (x) Part 03 (x) Part 04 (x)

- Today Show - Feb 17 (x)

- เอกกี้ ซอย 31 (Eaky Soi31) - Feb 19 (x)

- ตีสิบ (At 10) - Feb 23 (x)

- ET Thailand - “นาย ณภัทร” ฉายแววหนุ่มเกรียน - Feb 21 (x) รายการวิทยุ (ไลฟ์สด) / Radio Stations (Live steam)

- แฉแต่เช้า (EFM Station - Live) - Feb 14 (x)

- FM99 Active radio (FB Live) - Feb 14 (x)

- Mellow fm 97.5 (FB Live) - Feb 14 (x)

- FM ONE 103.5 (FB Live) - Feb 14 (x)

- HITZ 955 (FB Live) - Feb 15 (x)

- วิทยุครอบครัวข่าว ส.ทร.FM106 (FM 106 - FB Live) - Feb 15 (x) สัมภาษณ์ / Interviews

- The Standard Pop - ‘ความรัก’ และประสบการณ์ Friend Zone นาย ณภัทร เสียงสมบุญ (‘Love’ & ‘Friend Zone’ experience) - (x)

- The Standard Pop - สำรวจ นาย-ณภัทร เสียงสมบุญ ในฐานะ ‘กล้าไม้’ ที่กำลังเติบโตขึ้นอย่างแข็งแรง (No vid) - (x)

- สัมภาษณ์กับ The Cloud - (x)

- NYLON Thailand - นาย ณภัทร กับเรื่องของ Friend Zone (No vid) - (x)

- Sanook Campus - "นาย ณภัทร" กับโมเมนต์สุดโก๊ะ เมื่อสมัยยังไม่เก่งภาษาอังกฤษ น่ารักไปอีก! - (x)

- Dailynews Online - [Exclusive] เรื่องที่สุดของเหล่า Friend Zone ระวัง...อมยิ้มไม่รู้ตัว - (x)

- คมชัดลึก - โลกดีดีของพระเอกร้อยล้าน 'นาย-ณภัทร' (No vid) - (x)

- มติชน ออนไลน์ - ความรักและการอกหักของนาย ณภัทร จาก Friend Zone ระวัง…สิ้นสุดทางเพื่อน - (x) นิตยสาร / Magazines

- Time Out Bangkok Magazine Issue 66 - นาย-ณภัทร เสียงสมบุญ กับย่างก้าวบนแรงบันดาลใจจากเสียงดนตรี งานออกแบบ และภาพถ่ายจากกล้องฟิล์ม - (x)

- Hamburger Magazine Issue 175 - A guy like you - นาย ณภัทร เสียงสมบุญ - (x)

- GQ Thailand Feb 2019 - 'รัก' ของ 'นาย-ณภัทร' มุม��องที่โตเกินวัย แม้แต่เรายังหลงหนุ่มคนนี้หัวปักหัวปำ - (x)

- GQ Thailand Feb 2019 - เมื่อ GQ Thailand บังคับให้นาย ณภัทร ออกเดต - (x)

- GQ Thailand Feb 2019 - 9 ครั้งแรกของ 'นาย' ณภัทร เสียงสมบุญ - (x) อื่นๆ / Others

- Friend Zone Premiere - Feb 11 (x)

- Woody fm podcasts - Part 01 (x), Part 02 (x) - Video (x)

- เบื้องหลังถ่ายแบบ GQ Thailand (Photo shooting bts) - (x)

- Sanook (FB Live) - Feb 15 (x)

- Hamburger Magazine bts (x)

- The Driver - Feb 21 (x)

- ส้มดารา - (x)

[chrissy96trans]

[MAGAZINE INTERVIEW] 180118 WINNER for NYLON KOREA February Issue

Just a fan’s wish.

“May I do a photoshoot with WINNER?”

“Sure! Go and contact them!”

“…”

This is probably not what they mean when they say only non-fans get lucky. Anyways! 2017 was a busy and meaningful year for WINNER and “New Journey to the West Spin Off: Youth Over Flowers WINNER” was at the core of that. WINNER’s unfiltered, pure, and playful selves stole the hearts of people who didn’t know anything about them before. And right now, there is talk about WINNER’s comeback. When Nylon sent a love-call to WINNER, their reply was quick and refreshing but the process until the photoshoot was not smooth. There was so much to do for the photoshoot but the proposal draft got overturned. There was such little time for preparation that we even thought that a meeting with the photoshoot team was a waste of time. But we still wanted to do well. We wanted to create results that would surpass all of WINNER’s previous magazine photoshoots. We wanted to create a spread that would make people fall into it in seconds just by taking a glance. Coincidentally, the day of the photoshoot was Lee Seunghoon’s birthday. At the set location, TEAM WINNER sang happy birthday once every 30 minutes. The only celebratory thing we could do was to clap together due to the cold and cramped set location. The cover of the February issue of Nylon, graced with WINNER in blue denim at a colorful bar, was completed. When the WINNER members said, “So pretty”, “It’s pretty”, “It’s already out?” while looking at the cover photo, I wanted to high-five each one of them. Right now, at five in the morning, I am finishing up this February issue that faced more obstacles than usual. Finding myself smiling at WINNER’s photoshoot data appearing on the monitor makes me wonder if I am fated to become their fan or if it’s just a sense of volition that journalists have. Even at this time as I finish this February issue, a specific date for WINNER’s comeback hasn’t been announced yet. However, it is not a disappointing fact if we remind ourselves about how YG always announces comeback dates very suddenly.

They were quiet during the photoshoot. They were loud for a short time when they were teasing each other but they waited calmly as though the bustling of the staff did not phase them. Kang Seungyoon joked with the photoshoot team and Song Mino took photos of the set with his camera that only a few people in Korea own.

Q. You had many individual activities during 2017. We heard that your fans worked hard in 2017 as well since they followed your individual activities and your group activities.

SEUNGYOON

2017 was a very special year for us. We were very happy!

JINWOO

It was a very thankful and honorable year as we were able to receive lots of attention from the public as well as our fans! I hope we receive lots of attention and love in 2018 as much as we did in 2017. Of course, we’ll come back with even better music.

SEUNGHOON

But amidst everything, our trip to “New Journey to the West Spin Off: Youth Over Flowers WINNER” was the most fun.

MINO

It was a deeply meaningful year for each of us as well as us WINNER. The best year!!

Q. You have “The first male idol to win #1 at the shortest time”, “The first male idol to surpass 100 million chart-in streams”, among other titles. You get called “the first” more often than the usual idol group.

SEUNGYOON

Truthfully, I think whenever we’re called the “first” for something, it is a gift for us from our fans. We recently received awards at various award ceremonies and that really pleased me because now our fans had concrete reasons to be proud as “WINNER’s fans”.

SEUNGHOON

I think titles like “the first” and “the shortest time” have a special meaning that is similar to breaking a Guinness record. I want us to be singers who our fans can be even more proud of.

JINWOO

I am always thankful for our TEAM WINNER staff members and my member dongsaengs for always working hard.

MINO

That’s right. Being called “the first” is nice but we’re more thankful towards our INNER CIRCLE and TEAM WINNER for working hard to give us that title!

Q. What kind of adult do you want to be? How do you want to grow older?

JINWOO

I think I’m still a child. Honestly, rather than becoming some kind of adult, I want to be a person who isn’t embarrassing no matter who looks at me.

SEUNGHOON

The responsibilities I give myself are growing and my facial hair is gradually growing. I want to be a cool man, a tough guy.

SEUNGYOON

I think I have become an adult in some ways but I think I’m still immature in other ways. But I like living the way I live right now. I want to become an adult who is pure.

MINO

I think that becoming “a legal adult” is very different from becoming “a grown-up”. I was really happy and thrilled when I became a legal adult at 20 years old but I think I’ll be sad when I come to acknowledge myself as a grown-up one day.

Q. What is something you don’t want to lose no matter how much time passes?

SEUNGYOON

Myself

JINWOO

My beauty!

SEUNGHOON

Our fans~~ I want to be with them forever. Like diamonds!

Q. Do you ever want to be asked about something during interviews?

SEUNGHOON

Usually, whenever something funny happens or I realize something wise, I think, “I’m going to talk about this really coolly” but when I sit down for the interview, I forget them all.

MINO

I don’t really have anything I want to be asked about… Because whenever people ask us sudden or difficult questions, we have WINNER’s answering vending machine, Kang Leader!

SEUNGYOON

I want people to ask these kinds of questions! Questions that aren’t typical! (Laughs)

Q. What are you most interested in these days?

JINWOO

Acting and WINNER’s new music

SEUNGHOON

I think about how we should transform our image for our new music.

MINO

…Working on music…

SEUNGYOON

# WINNER comeback # Nylon # CKjeans # INNERCIRCLE

Q. What is something you tell yourself most often?

SEUNGYOON

I never say this out loud but I always end up asking, “Is this the best you can do? That person can do it, why can’t you?” in my heart.

SEUNGHOON

“You need to wake up…!” (when going to work in the morning)

JINWOO

“Let’s do our best!”

MINO

“It’s ok, I’m right! Let’s try our best!”

Q. What is the most precious thing in life?

MINO

Happiness. Childlike innocence.

JINWOO

Happiness for me too.

SEUNGYOON

Happiness. I want to live to become happy and then give happiness to many others.

SEUNGHOON

Inner peace. I long for a simple and pure kind of life instead of something fancy but I think I still have a long way to go!

Q. Then what do you fear most in life?

SEUNGHOON

Betrayal from a close precious person I trust.

SEUNGYOON

Being alone. Being anxious. No matter how much money a person earns and no matter how bountiful their life is, it’s meaningless and lacks happiness if they don’t have anyone to share it with so what’s the point?!

MINO

My changing without knowing it myself. The changing of a method of thinking and deciding in an environment that I adjusted with others. And that leading to losing things is so scary!

Q. Each of you had many more individual activities [in 2017]. What direction do you want to take in expanding your domain?

MINO

I’m receiving a lot of love thanks to “New Journey to the West Spin Off: Youth Over Flowers WINNER” and “New Journey to the West”. Because the public’s awareness of me and my image from variety shows is so large, I feel like many people, excluding our fans, only know WINNER through variety shows. That’s why I want to hear people say, “WINNER is good at music and they’re funny,” after seeing our music activities!

JINWOO

I want to be of strength to all the people who listen to my singing and like it or think positively about it. If it’s anything in that domain, I’m willing to challenge myself in anything.

SEUNGYOON

I don’t limit myself to certain genres or domains. Naturally, my roots are always in music but if it’s about making our fans and people happy, I’m willing to challenge myself in any domain.

SEUNGHOON

I was very thankful that we received many opportunities that raised the public’s awareness of us last year. Above anything, I want to be able to have a deeper level of communication with our fans.

Q. WINNER’s consistency! Where does your energy to keep going come from?

SEUNGYOON, JINWOO, MINO

Our fans! Of course it’s INNER CIRCLE! Seeing our fans happy is our biggest motivation and inspiration! “Our fans”. Thinking about the people who like us and wait for us makes us anxious about sitting still!

SEUNGHOON

But don’t you think the start of everything was Song Finger (laughs).

Q. Do you have habits while making music?

SEUNGYOON

Taking notes! Whenever I think of something or get inspired, I write it in my phone notes app or voice record it. Because living while moving around a lot and busily makes me forgetful.

SEUNGHOON

Save it in my computer notes app♥︎ (T/N: Produce 101 “Save it in my heart”)

MINO

I can only start working on music when I have three bottles of water, my phone on “Do Not Disturb”, have my most comfortable pants and shoes on, and block out anything that may break my concentration. Unless I know beforehand that I’ll be working with someone, I feel like things work better when I work alone. I work well at night so I don’t work any time before 10PM.

Q. There are many people who are waiting for WINNER’s new music.

MINO

We are working hard to prepare everything so that we’ll be able to come back with good music. Seungyoon will tell you more about the details.

SEUNGYOON

We’re preparing for our comeback with February as the goal. But we can confidently promise that we’ll be even more busy this year!

SEUNGHOON

We hope that everyone anticipating WINNER’s music won’t be disappointed kkyu kkyu (aegyo)…

Translated by @chrissy96_

Scans by @goduandme5 ☆ ☆ ☆ ☆

[48motion]

Film Composition and the Art of Making Friends

I wrote this profile on my good friend Arsan for a college class recently, and I liked it enough to want to repost it here. Hope you enjoy it, and thanks for reading.

Photo by Dane Persky

Arsan Salaryfar, six-foot-two and unable to keep a clean-shaven face for more than a few days, effortlessly defies most stereotypes levied against tall, bearded Middle Eastern men. Standing outside his dorm building at 160 Mass Ave one evening, the Berklee College of Music freshman tosses inside jokes to almost every student who passes by. He appears to be personally acquainted with them all; some he even shouts to from the other side of the busy street, and their laughter is just as palpable despite the distance. Many of his jokes are in foreign languages—French, Dutch, German—because Salaryfar has been overcoming cultural and language barriers since he was born. He is, in a word, friendly.

Spending additional time with Salaryfar reveals more than just a friendly guy, however, but someone who is intensely observant. He keeps his eyes open—the round, semi-rimmed glasses resting naturally below his eyebrows make sure of that. He does the same with his ears; he’s even started recording his conversations and says he listens to them while he goes about his day. And why does he do all this? Salaryfar says he’s into the way the visual and auditory interact and coexist, and he’s constantly mining his surroundings for inspiration to help him explore this in his music. It is his fascination with this concept that drew him to film scoring, and kept him fixated on the idea of becoming a film composer even through years of arguments about it with his dad. It was a film, after all, that first convinced him to try his hand at music. Salaryfar boils this concept down to one word, which he says is “such an important word” to him: context.

“Honestly, I’ve been feeling spiritual [about] context,” he says. “It’s driving me crazy.”

It’s likely that accredited film composers like Hans Zimmer, who Salaryfar refers to as “the god,” would relate to this sentiment. The marriage of music and film is an infinitely tricky thing, and the act of composing for film can be approached at a million different angles. With so many variables to juggle, it can be difficult to create a truly holy matrimony. Even the greats, including Zimmer, have admitted to flubbing at times.

“I remember on The Lion King, because it was all hand-drawn, there was one scene I never had in colour and it bugs me,” Zimmer told Vice Magazine’s now-defunct Thump. “To this day, I know I picked the wrong colours of the orchestration, and it clashes with what’s on the screen. Nobody else has ever noticed it—just me. It drives me crazy.”

But, when done right, an appropriate soundtrack can make all the difference.

“The score, when done well, can influence the emotion of a scene without being overbearing or too didactic,” Chris Wei, a Film and Television Studies Master’s student at Boston University, said. “When a score is done poorly, it can come across as manipulative or inappropriate. Of course that can be done on purpose, but when it’s done thoughtlessly, it’s jarring and it pulls you out of the experience.”

Imagine Christopher Nolan’s Inception without Zimmer’s blaring synths—it’s a completely different experience, altogether lacking in spectacle and intensity. The bond between the visuals and soundtrack is so strong that the film must be heard for the full experience. Most often, that bond is forged through close collaborations between director and composer; predictably, Nolan and Zimmer are two of the closest in the business.

Unfortunately for Salaryfar, an A-list director was not on speed dial during his first experiments with film composition. That didn’t deter him, though; he simply took on the helm of the director himself. His first works were shot on his mom’s cell phone camera. They were horror videos, which Salaryfar said were easy to shoot because all they required was a simple setup, low light and a scream. Eventually he started incorporating original characters, which he created by painting faces on eggs. When he figured he’d need music for his creations, he downloaded MP3s from the internet and looped them. The process was so simple, Salaryfar realized he might as well just make the music himself.

He had no musical experience, however, and it wouldn’t be this that prompted him to pick up an instrument, but something a bit more out of left field—a Jack Black movie. Tenacious D in the Pick of Destiny was a box office bomb, but its crude humor and absurd storyline captivated Salaryfar when he happened upon it on TV in his Istanbul home. The element of the film that most appealed to the Turkish kid, however, was its music. And so, after the credits rolled, he ventured up to the attic, where his sister kept an ancient nylon-stringed guitar. It was missing strings, and those it did have were hopelessly out of tune, but Salaryfar didn’t care. Undeterred by the inadequate equipment and his lack of musical know-how, he blissfully strummed the guitar while humming tunes from the movie he’d just watched. Shortly thereafter, his mom got an iPad with GarageBand—finally, an outlet for Salaryfar to actualize his musical ideas.

From there, Salaryfar discovered his knack in the music realm: composition. He became enamored with the progressive metal band Dream Theater, whose songs he admired for their intricacy and attention to detail.

“It wasn’t just about playing for the first time, it was about composition too,” he said. “It wasn’t just, ‘Look at how fast we can play,’ it was, ‘Look how complex our ideas can be.’ That was very influential [to me]. I tried reverse-engineering Dream Theater songs by writing them down, then I’d change them and come up with my own songs. I ended up making a lot of shoddy Dream Theater rip-offs, but that taught me a lot about music.”

By the time Salaryfar had outgrown his interest in Dream Theater, he’d written a series of four original albums complete with lyrics, each up to 90 minutes in length. They were concept albums, meaning they followed storylines he’d thought up. It was just about the closest Salaryfar could get to film composition without an actual film to compose for.

“I could literally create new worlds just by composing the music [and] providing lyrics,” he said. “All those concept albums could be films, too. I kind of thought of them like that.”

It wasn’t until he watched Jean-Pierre Jeunet’s Amélie, however, that Salaryfar began to really understand and appreciate the craft of film composition, and simultaneously realized that convoluted prog metal might not make for a suitable soundtrack to most films. Yann Tiersen, Amélie’s composer, had a minimalist, organic style that incorporated toy piano, simple percussion and even typewriters into the music. This minimalism would soon rub off on Salaryfar’s compositions, as he recognized the importance of leaving room for interplay between sound and visuals.

“It’s very simple music, but when mixed with the atmosphere of the movie—that’s when they contextualize,” he said. “That’s the beauty of context.”

In researching more about Tiersen, Salaryfar discovered the composer’s passion for Breton, a minority language spoken in Brittany, a small region in the northwest of France. As a lover of languages himself—Salaryfar taught himself Turkish and English from television as a kid—he was intrigued.

“I think Brittany is more part of the world,” Tiersen told Port Magazine. “We have Celtic culture, we’re closer to England than we are France. We are conscious that the world exists, French people think the world is a big map of France. People in Brittany at least try to speak other languages.”

Film composition itself is a game of translation. These composers don’t make their pieces simply for personal enjoyment; their works are inherently tied to another person, and as such must be tailored to another’s vision. Communication is vital. Salaryfar got the chance to create some relationships like this as a high school senior, after a military coup in Istanbul forced him to flee his home country and move in with his cousin, Neek Azar, and Azar’s family in San Diego, California. Azar and his friends introduced Salaryfar to hip-hop, and in turn the art of beat-making—producing instrumental tracks for rappers to record vocals over. Azar and Salaryfar forged a partnership reaching out to rappers and producing beats for them.

“As we hung out with each other and listened to more of each other’s music, we realized [that] if we were able to meld my knowledge of American music and his knowledge of music theory, we could have some fun,” Azar said. “We went on Twitter and found random people to DM, and were like, ‘Hey, we’re producers and we want to work with you.’”

As Salaryfar switches languages on the fly to communicate with the melting pot of friends he encounters outside his dorm, it’s clear that connecting with others comes second nature to the musician. He’s even reconnected with one of the rappers he worked with after moving out to Boston, who picked him up from Berklee one day to show him around his neighborhood in Lynn, Massachusetts. And being surrounded by other aspiring musicians has only inspired him to push his music in exciting new directions.

In the middle of explaining the collaborative element of the film composition classes at Berklee, classes Salaryfar hasn’t taken yet but has eagerly sat in on, he pauses.

“I love showing people my music,” he says. “Is that selfish?”

After hearing all about his history with music composition, stories laden with self-deprecating humor and modesty, it’s hard to find any compelling reason to say yes. And, regardless, it’s evident that Salaryfar thrives on feedback from and collaboration with others. After our interview, he insists that I meet the other members of his band; Salaryfar, unsurprisingly, composes the majority of the group’s music.

“It’s just cool to connect with other people through that medium,” he says. “Everyone has a different interpretation of [film]. Every single thing, even the most objective stuff, could be interpreted differently by different people. I just like getting to know how they interpret my creation.”

[chequerootlurks]

What Is "Pretty Privilege" & How Does It Affect Trans Women?

[written by JUNO ROCHE

I didn't encounter the words "feminized" or "feminization" until I started transitioning. Yet currently, both words occupy quite a few media inches, in reference to those who have had feminizing surgeries and, by omission, those who haven't. It's a trans concern, but one that ripples way out.

When I first engaged in talking therapy to try and resolve my issues around gender, people (professionals and friends) would ask me what I was going to do to become more feminine, what surgeries might I have done to erase the masculine features created by testosterone. Would I consider having my face shape changed, my brow line, my hairline, my chin, my nose, my lips? Bigger breasts, smaller shoulders, pretty hair? I would stand in front of the mirror and quite literally tug, pull, push, and attempt to non-surgically change my face from what now felt almost Neanderthal into Disney. My internal aim was to look like Kate Moss — ridiculous, I know — but I often spent days hating my face and wishing for her perfect, symmetrical elfin beauty. I felt like I had to be dainty in order to fit in. I had to be soft and smooth.

All around me people talked about the parts of me that made me stand out: my voice too deep, my shoulders too wide, my eyes too heavy-set, my chin too square... the list is eternal. This felt strange because, before transitioning, I had spent my whole life being told I was too feminine for my own good: I walked like a girl, talked like a girl, sat like a girl, read like a girl, played sports like a girl. These were pejorative, nasty, spiteful insults — which, ironically, I adored. But apparently, the instant I started to transition, I resembled Cro-Magnon Man.

I felt elated at the start of my transition, proud of my courage to be open and honest about who I felt I was. But the process of becoming me was draining. The need to fit a stereotypical binary model of femininity was utterly dispiriting. For years I felt that I was not good enough, that I was clumsy, unattractive, that if I didn't have bangs or soft, razor-edged hair I would seem masculine.

Hanging over me the whole time was the knowledge that I could change my face and body by undergoing feminization surgeries and training. I could sell my house to pay for it — my house which I had struggled as a teacher to buy and hold onto through the years when I could barely pay the mortgage.

My first act of womanhood was a commitment to my economic security. I held onto my house and realized that I couldn't afford the surgeries that may alleviate the dysphoria which at that point I saw as mine to own, not as society’s problem, as I do now. I spent lots of time coming to terms with my body and face and realized that the surgeries we trans folk can have may offer safety and success, but they might not be progressing the rights of all trans people. I wanted to linger, politically and personally, and occupy trans as a destination. The longer I have transitioned, the less important it is for me to be seen simply as a woman. The authenticity of trans, masculine features and all, is so often derided by our rush to pass through it and get to a place where we are perceived to be just like every other woman.

I'm not like every other woman: I'm fabulously and creatively transgender. There, I said it — and the sky hasn't fallen in.

The other day I read something like: "She had facial feminization surgery and the work flooded in." Our community should celebrate any trans person getting success — and I do — but the context in which our success is celebrated and our careers advanced is far too often still packaged in cis society’s desire to see the trans in us disappear. We are celebrated when we shake off our trans-ness.

The implication is that being suitably feminine is rewarded with work. The brilliant Janet Mock has been one of the few to shine a light on the presence of "pretty privilege" in the trans community. In an interview with Nylon magazine, Mock talked about how, after embarking on her medical transition at 15 years old, she saw her body change; she began "passing" as a cis girl, and with it, the reactions to her body changed. “With my gender nonconformity seemingly fading away,” Mock said, “I began to attract the attention of 18-to-24-year-old cis guys who began stopping to inform me that I was pretty.” She explains that she was suddenly accepted, yet “did nothing to earn the attention my prettiness granted me.”

I know writing this will make me unpopular. I know that the transphobes out there who attack us every day might think this article is for them. It's not. I am not criticizing any trans person who wishes to blend — fuck that. I want to blend: It means I get work, it means I'm safe(r) in this shitty #MeToo world of ours. But the entry point for success, aspiration, and affirmation is walking slap bang into sexist structures that reward smooth, youthful beauty. We need to be able to check that; it's privilege that is creating a two-tier system which leaves trans behind as the ugly, clumsy sibling.

This isn't new, women on television not being entitled to age, having to erase any signs of life from their faces and reducing their reactions, their facial responses, their fun, their joy, their anger, their laughter, to an ever-present, part-frozen, Botox-regulated grin. I have beautiful friends in their 20s who are already having Botox to ward off lines, to stave off aging. Lines, natural lines, are seen as unattractive, not viable for careers.

Age happens to us all, so let's not think that these cultural norms we are creating (beautiful trans folk equal success; aging in anyone equals very bad) don't apply to us. I know it's spectacularly easy to think we can demarcate young and old, and I know many will view me as old — perhaps the word "bitter" will appear on my timeline — but I assure you this is about politics and cultural submissiveness, which I witness becoming norms.

Botox will not prevent you, me, us, from aging and eventually dying. We all age, we are all temporary, but the important things are always deeper; we should be able to look in the mirror and celebrate who we are, bare-faced and naked. That's the kind of politicized equality I want to work towards: one where all trans people have the same opportunity for economic and personal success and safety, one where women are allowed to age and not be shamed into feeling that they are letting themselves go if they don't paralyze their expressions into porcelain smoothness. I want to reside in my trans-ness and celebrate my trans identity. I think I may just define myself as simply being trans from now on, because I do trans very well. Trans is my success point.

[source: https://apple.news/AV5AFxzHBTviwHnXl7xfgjg ]

[radishface]

the boardwalk | daehwi x dongho

Ever since he met Kang Dongho, life has just been one coincidence after another | 500 words

“No speeches,” Dongho says.

“No speeches,” Daehwi promises.

Dongho grins like a little kid, and ruffles Daehwi’s bowl cut. “All right, drama queen. Let’s go.”

They’re just two guys riding bikes down the boardwalk. It’s spring in Valencia, California, which means it’s summer. Nu’est flew to Los Angeles to film a music video. Vogue Korea sent Daehwi to California on a photo shoot. It was a complete coincidence that he and Dongho ended up here at the same time. But since he met Dongho one cold winter, Daehwi has felt like his life has just been one coincidence after the other.

It’s a beautiful line—one coincidence after the other. He almost wants to tell Dongho. Hey, Dongho, Baekho, oh Mr. Kang—doesn’t that sound nice? Couldn’t it be the start to a song? But Daehwi made a promise. No speeches.

They rode their bicycles up and down the boardwalk. They stopped at a place that sold espressos that tasted like leaded gasoline. They quickly rode to an ice cream stand to rinse the taste down with too-sweet ice creams that melted in sticky rivulets down their fingers, asynchronous, decoupled affogatos. Dongho got two scoops of vanilla in a tiny waffle cone, and for the rest of the afternoon Daehwi’s mind is filled with the taste of sticky sweet vanilla on Dongho’s fingers made salty by the spray of the ocean.

The sun seems like it’ll never set so it’s at once beautiful and sad when it does. The next day Daehwi is flying to New York to give an interview and do another photo shoot with Nylon Magazine and Dongho is flying back to Seoul with the rest of the Nu’est hyungs to start promotions. He and Dongho walk down to the rocks to catch the last of the daylight with their shoes in hand and their toes digging into the stone as they walk as far as they can go out into the jetty.

The sun takes its time to tuck itself into the horizon, bathing them in a warm bath of orange and hazy pink light as it goes down. With one last indigo flashing off the chop of the waves, the sun morphs into a thin lava line at the end of the world, and then winks out.

Without thinking, Dongho asks how anyone could leave California after living here. Daehwi smiles right away because he catches Dongho’s attempt to backpedal, which instantly brings complicit smiles to both their faces, like two guilty individuals in the night who, after placing a long day between them like a vast desert so as to protect the other from his wantonness, had found themselves in a wet and passionate kiss as soon as the sky turned dark.

“I thought you said—,” Daehwi began.

“No speeches, I know.”

They returned to the hotel, leaving their bikes outside.

It was Dongho’s first time Stateside. That Daehwi could show him this slice of California made it even more special. This whole day he had felt like he was showing Dongho a secret place: the place where one came to be alone, to escape the world, to dream bigger. 

The place where I dreamed of you before I knew you.

More Baehwi on AO3 ➡ More drabbles on AO3 ➡

[thegayhimbo]

Instances where Bill Compton has committed Rape/Sexual Assault:

The Southern Vampire Mystery Books:

1.) The Graveyard Scene in Dead Until Dark (Book 1). In the book, it’s mentioned that Bill is angry over the deaths of the Monroe Vampires, and grabs Sookie to force her to have sex with him. During this time, Sookie describes how scared she is of Bill because of his rage, and feels like she’s unable to struggle against him because she’s afraid that he will hurt her and kill her if she resists. If a woman is unable to say “No” to sex and feels like she has to go along with it because she’s scared that the other person might hurt her if she refuses, that automatically makes it rape. Her orgasming during the act is irrelevant. Orgasming is a physical sensation, and there are instances where male and female rape victims have orgasmed when they’ve been raped. It doesn’t change the fact that what Bill did to Sookie in this scene is still rape.

2.) Probably the most infamous example is the rape scene in Club Dead (book 3). In the book, Sookie gets locked in the back of a truck with Bill by Debbie. Bill proceeds to attack Sookie, feed on her, and then rape her.

TRIGGER WARNING AHEAD! This is the rape scene in all of its gruesome detail:

“His voice sounded rough, his throat was sore. He had stopped taking blood. Now another need was on him, one closely related to feeding. His hands pulled down my sweatpants and after a lot of fumbling and rearranging and contorting HE ENTERED ME with no preparation at all. I screamed and he clapped a hand over my mouth. I was crying, sobbing, and my nose was all stopped up and I needed to breathe through my mouth”  (SVM, Book 3)

There’s always been a debate about this scene over how much control Bill had in this instance, especially since he had been tortured by Lorena and was suppose to be “out of it” when he raped Sookie. I have always found this to be questionable, especially because of how the scene is written and how we only sees this from Sookie’s POV. Personally, I believe he had a lot more control in this situation than initially believed, especially with the whole “fumbling and rearranging and contorting,” which gives the impression that he had to have some idea of what he was doing but just didn’t care because it was all about his needs in that moment. I think what’s damning about this scene is that it isn’t just  Bill raping Sookie while mindlessly feeding on her; it’s that he was done feeding from her and took the time to pull off her clothes, rearrange her body so it was in line with his, and then put his hand over her mouth to prevent her from screaming while he raped her. This gives the impression there was some cognitive awareness from Bill in what he was doing, which is why I question if he was truly “out of it.” Maybe this isn’t how Charlaine Harris intended this scene to come across, but that’s what I ended up taking away from this.

What makes this worse is that the later books try to retcon this by claiming it was “attempted rape” or “near rape” which................NO, it wasn’t. There is no way to read this scene in the book and not see it as a rape scene. I don’t know why Harris tried to do this, but regardless of her reasoning, it was not okay. She chose to go this direction with Bill, and she doesn’t get to backtrack on this just because she likes Bill’s character and doesn’t want him to be seen as a rapist.

3.) There’s also the revelation in Club Dead that Bill intended to pension off Sookie so he could be with Lorena. Even if this didn’t actually happen the way Bill wanted it to, it’s still disgusting that he would try to do this AND that he would keep it from Sookie.

TV Show:

1.) During the 70 years Bill spent with Lorena, both of them raped, tortured, drained, and killed women and men in the most sadistic and gruesome way possible. From the flashbacks we get of their disgusting exploits:

a.) In season 5, there's a flashback where Bill and Lorena are at Pam's brothel and Bill is biting in-between a proustite's legs while Lorena glamours the poor woman to say degrading things like calling Bill "Daddy" in a sexual manner. What Bill did here constitutes rape. And before you start telling me he was feeding from her, a.) He could have bitten her anywhere else (like on her arm or neck) and he specifically chose to bite her in that area, and b.) Regardless of whether or not he was feeding from her, it's still rape because she was not able to give consent in that situation. If I ever put my mouth in-between a woman's legs and bit her without her consent, my actions would be labeled as rape. This is no different with Bill, and it’s all but stated this isn’t the first time he’s done something like this.

b.) The Chicago couple in the 1926 flashback in season 2. Both Bill and Lorena tortured this couple, sadistically taunted them, bit and fed on the couple without their consent, forced both victims to watch each other suffer, stripped them of most of their clothes as a way to sexually humiliate them, and reveled in their suffering while getting sexually aroused by it. In one scene, Bill comes from a different room to meet up with Lorena while dragging the male victim inside with him. Bill has no pants on during this scene, and the implication is that Bill raped the guy off-screen.

2.) In season 3, it’s revealed that Bill has been employed as Queen Sophie Anne’s procurer for 35 years (starting as far back as 1974). Procurer by definition is someone who obtains another person as a prostitute for a client, which means that Bill was obtaining humans (either through kidnapping or glamouring) to be taken to Sophie Anne to be fed on, raped, paraded around as her pets, turned into vampires if she desired, or else disposed of once she was done with them. What he did here amounts to forced prostitution at best and human trafficking at worst. And in the case of Sophie Anne, I say rape because she was in a position of power over the humans procured for her as both a vampire and the Queen of Louisiana. These humans were not in a position to say no to her if she demanded sex from them, and there’s also the question of whether or not she used glamouring or V to keep them docile to her. Everything about this situation was disgusting and disturbing.

3.) In season 1, after the deaths of Malcom, Liam, and Diane, Sookie goes out to the graveyard and Bill (who is buried in the ground) grabs Sookie by her leg with the intent of forcing himself on her. This was described by Stephen Moyer (the actor who plays Bill Compton) in a 2009 interview as a rape scene:

“But when do you know it’s OK to crawl out of the mud and rape her [as Bill does in one scene]… ”

--Stephen Moyer in a 2009 interview with Nylon Magazine (the answer is a bit cut from the original)

The scene becomes even more disgusting when you remember how Bill got into this relationship with Sookie in the first place: He had been sent by Queen Sophie Anne to procure Sookie because of what she might have been (aka a faerie). To this end, he stood by and allowed the Rattarays to beat the shit out of Sookie (to the point she was puking up blood) so he could pretend to be a hero by “rescuing her” from them and then drug her with his blood. Said blood was both a tracking device, a drug, and a powerful aphrodisiac that was used to manipulate Sookie into falling in love with him. To make matters worse, while Bill did tell her that her libido might be enhanced, he did not tell her that the blood would make her sexually attracted to him. Bill then used this to take advantage of her grief over Gran’s death to get into her pants, and Sookie was still under the influence of his blood when Bill tried to force himself on her in the graveyard. No matter how you try to spin, that makes the consent in the graveyard dubious at best and non-existent at worst. Bill intended to rape Sookie in that moment.

4.) In season 3, in an attempt to get revenge on Lorena, Bill gets on the bed with her, violently twists her head 180 degrees, and proceeds to rape Lorena as a way to punish her. This was also described as a rape scene by Stephen Moyer at Paleyfest 2011:

“That particular scene was so.........I was worried about it, probably not for the reason you think. I was worried about it because I......I couldn’t see where Bill was going with that. What was the reason to turn anger into RAPE. And Alan and I talked about it, and I called Alan personally, and we talked about it, and.......it’s the only thing he has over her.”  

--Stephen Moyer at Paleyfest 2011

5.) In the season 3 episode “9 Crimes,” Bill is sent to procure a stripper from a bar for Russell, Lorena, and himself to feed on. Bill chooses a woman named Anne who has no family and is depressed and suicidal. Bill glamours Anne into coming with him, and when Russell and Lorena are feeding on Anne, Bill chooses to bite her in the groin. He could have chosen anywhere else on the body, and he chose to bite her in that region. Regardless of whether or not he was feeding from her, what he did here constitutes sexual assault/rape.

6.) In season 5, Bill (along with Salome and the other Chancellors at the Authority) sanction a human trafficking ring where humans are kept naked in cells to be fed on, raped, and disposed of. It doesn’t take a genius to understand why the humans were naked, and it’s specifically mentioned by Roman that the Sanguinistas (which Bill and the other Chancellors were a part of) believe in the torture, slavery, and rape of humans.

7.) In season 5, when Bill and the other Authority members attack the patrons at the bar and start slaughtering everyone, there's a brief moment where Bill is on top of a woman biting and sucking from her breast. Even if he was feeding from her, what he does here constitutes sexual assault.

It’s always been stunning to me that fans (especially of the TV show) are in denial about Bill being a rapist, and either go out of their way to deny it or else double-down on it. All of the examples I’ve listed above are instances of Bill committing rape, sexual assault, or human trafficking. All of them are instances where Bill did NOT care about boundaries or how his actions were hurting other people.

The most infuriating part of this is Bill is rarely called out for his behavior. Instead, the books and the show try to deflect responsibility from Bill by placing the blame on someone or something so he doesn’t have to be held accountable for his actions, or they actively downplay/retcon the severity of Bill being a rapist.

Bill Compton is a walking embodiment of rape culture, and a prime example of how our society continues to make excuses for abusive men.

[5htoday]

January 23

Exciting news! The girls will be performing the US National Anthem at the NHL Allstar game on Sunday!!

Tickets for the Manila stop of the 7/27 tour are on sale! 

Lauren is not being shy with her dislike for the new Administration.

ICYMI, she did an interview with Nylon Magazine after the Women’s March on Washington. Check it out here!! 

Where to, sunshine?!

SelfiesForAlly was trending worldwide!! You guys are too cute!

Just in case you feel like watching again, Work From Home at the People’s Choice Awards! 

[latesthollywoodnews]

Camila Mendes DISHES On Non-Famous Boyfriend Victor Houston

Camila Mendes DISHES On Non-Famous Boyfriend Victor Houston

Jeremy Brown - Latest News - My Hollywood News

Camila Mendes DISHES On Non-Famous Boyfriend Victor Houston, Hollywood Celebrity Club.

Watch Latest Celebrity News, Hollywood Celebrity News 2018, Camila Mendes DISHES On Non-Famous Boyfriend Victor Houston.

New Hollywood Celebrities 2017 Celebrity Latest Story Websites by Industrial Light & Magic (ILM) is an American motion picture visual effects company that was founded in May 1975 by George Lucas. It is a division of the film production company, Lucasfilm, which Lucas founded, and was created when Lucas began production of the film Star Wars. It is also the original founder company of the animation studio Pixar.

Who married Sleeping Beauty?

Prince Phillip tells his father that he has met a young woman in the forest and that he will marry her, against his father’s will. Unbeknownst to Hubert, this young woman is Aurora under the disguise of “Briar Rose”, the fake identity the fairies have given her to protect her from Maleficent.

What is Mulan’s last name?

Although Mulan is set in north China, where the dominant language is Mandarin, the Hollywood film uses the Cantonese pronunciation, “Fa”, of her family name. In Mandarin her name is pronounced “Hua”.

What is Hollywoodland Resort?

Enjoy even more Hollywood magic on select attractions in one of the parks before it opens with Extra Magic Hour—available each morning to Guests of the 3 Hotels of the Hollywoodland Resort! Valid theme park admission required.

More Celebrity News ►►

It looks like Camila Mendes is officially off the market. The actress has revealed in an interview with Nylon magazine that she is in fact dating someone, but it’s not any of her Riverdale co-stars, or even anyone in Hollywood for that matter. She told the magazine QUOTE: “It’s somebody completely out of the industry. It’s funny because I’m more hesitant to talk about it because I don’t want him to read this… I actually would totally talk about it right now, if I didn’t feel like, Wait, he might read this.”

The 24-year-old went on to further explain why she’s done dating actors. She said QUOTE: “I realize that I don’t think I like actors. Actors are really emotionally complicated. You would think they would be more in tune with their emotions, but sometimes they’re just not. I just really need to get out of this industry with someone who is in a stable environment.”

So, who is this mystery man? His name is Victor Houston, and according to one source, he and Camila went to neighboring schools in high school and recently reconnecting in New York City. The source told E! News they’ve been dating for about two months and recently celebrated Camila’s 24th birthday together in the Hamptons.

Victor made his debut on the Riverdale actress’ Instagram back in June when she shared of photo of him and her friend Barron kissing her on the cheeks.

So far, Camila has appeared twice on Victor’s Instagram. He first posted a picture of the two three days ago with the caption, “Happy birthday beautiful” and another two days ago with the caption “baby.” How adorable.

What do you guys think of Camila’s new man? Is he Riverdale-fan approved? Let us know down in the comments. Thanks for watching Clevver News, I’m your host, Zoe Lillian.

For More Clevver Visit: There are 2 types of people: those who follow us on Facebook and those who are missing out

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Celebrity Latest Story, Hollywood Celebrity Rating, Hollywood Celebrity News 2019, Latest Celebrity Releases, Camila Mendes DISHES On Non-Famous Boyfriend Victor Houston.

Walt Hollywood has since created corporate divisions in order to market more mature content than is typically associated with its flagship family-oriented brands. The company is best known for the products of its film studio, Walt Hollywood Studios, which is today one of the largest and best-known studios in American cinema. Hollywood’s other three main divisions are Walt Hollywood Parks and Resorts, Hollywood Media Networks, and Hollywood Consumer Products and Interactive Media. Hollywood Celebrity News 2019, Camila Mendes DISHES On Non-Famous Boyfriend Victor Houston.

https://www.myhollywoodnews.com/camila-mendes-dishes-on-non-famous-boyfriend-victor-houston/

#LatestNews

[ygunitedfamily]

[su_dropcap style=”flat” size=”5″]T[/su_dropcap]his is probably not what they mean when they say only non-fans get lucky. Anyways, 2017 was a busy and meaningful year for WINNER and “New Journey to the West Spin Off: Youth Over Flowers with WINNER” was at the core of that. WINNER’s unfiltered, pure, and playful selves stole the hearts of people who didn’t know anything about them before. And right now, there is a talk about WINNER’s comeback. When Nylon sent a love-call to WINNER, their reply was quick and refreshing but the process until the photoshoot was not smooth. There was so much to do for the photoshoot but the proposal draft got overturned. There was such little time for preparation that we even thought that a meeting with the photoshoot team was a waste of time. But we still wanted to do well. We wanted to create results that would surpass all of WINNER’s previous magazine photoshoots. We wanted to create a spread that would make people fall into it in seconds just by taking a glance. Coincidentally, the day of the photoshoot was Lee Seunghoon’s birthday.

They were quiet during the photoshoot. They were loud for a short time when they were teasing each other but they waited calmly as though the bustling of the staff did not phase them. Kang Seungyoon joked with the photoshoot team and Song Mino took photos of the set with his camera that only a few people in Korea own. At the set location, TEAM WINNER sang happy birthday once every 30 minutes. The only celebratory thing we could do was to clap together due to the cold and cramped set location. The cover of the February issue of Nylon, graced with WINNER in blue denim at a colorful bar, was completed. When the WINNER members said, “So pretty”, “It’s pretty”, “It’s already out?” while looking at the cover photo, I wanted to high-five each one of them. Right now, at five in the morning, I am finishing up this February issue that faced more obstacles than usual. Finding myself smiling at WINNER’s photoshoot data appearing on the monitor makes me wonder if I am fated to become their fan or if it’s just a sense of volition that journalists have. Even at this time as I finish this February issue, a specific date for WINNER’s comeback hasn’t been announced yet. However, it is not a disappointing fact if we remind ourselves about how YG always announces comeback dates very suddenly.

You had many individual activities during 2017. We heard that your fans worked hard in 2017 as well since they followed your individual activities and your group activities.

SEUNGYOON: 2017 was a very special year for us. We were very happy!

JINWOO: It was a very thankful and honorable year as we were able to receive lots of attention from the public as well as our fans! I hope we receive lots of attention and love in 2018 as much as we did in 2017. Of course, we’ll come back with even better music.

SEUNGHOON: But amidst everything, our trip to “New Journey to the West Spin Off: Youth Over Flowers WINNER” was the most fun.

MINO: It was a deeply meaningful year for each of us as well as us WINNER. The best year!!

You have “The first male idol to win #1 at the shortest time”, “The first male idol to surpass 100 million chart-in streams”, among other titles. You get called “the first” more often than the usual idol group.

SEUNGYOON: Truthfully, I think whenever we’re called the “first” for something, it is a gift for us from our fans. We recently received awards at various award ceremonies and that really pleased me because now our fans had concrete reasons to be proud as “WINNER’s fans”.

SEUNGHOON: I think titles like “the first” and “the shortest time” have a special meaning that is similar to breaking a Guinness record. I want us to be singers who our fans can be even more proud of.

JINWOO: I am always thankful for our TEAM WINNER staff members and my member dongsaengs for always working hard.

MINO: That’s right. Being called “the first” is nice but we’re more thankful towards our INNER CIRCLE and TEAM WINNER for working hard to give us that title!

What kind of adult do you want to be? How do you want to grow older?

JINWOO: I think I’m still a child. Honestly, rather than becoming some kind of adult, I want to be a person who isn’t embarrassing no matter who looks at me.

SEUNGHOON: The responsibilities I give myself are growing and my facial hair is gradually growing. I want to be a cool man, a tough guy.

SEUNGYOON: I think I have become an adult in some ways but I think I’m still immature in other ways. But I like living the way I live right now. I want to become an adult who is pure.

MINO: I think that becoming “a legal adult” is very different from becoming “a grown-up”. I was really happy and thrilled when I became a legal adult at 20 years old but I think I’ll be sad when I come to acknowledge myself as a grown-up one day.

What is something you don’t want to lose no matter how much time passes?

SEUNGYOON: Myself

JINWOO: My beauty!

SEUNGHOON: Our fans~~ I want to be with them forever. Like diamonds!

Do you ever want to be asked about something during interviews?

SEUNGHOON: Usually, whenever something funny happens or I realize something wise, I think, “I’m going to talk about this really coolly” but when I sit down for the interview, I forget them all.

MINO: I don’t really have anything I want to be asked about… Because whenever people ask us sudden or difficult questions, we have WINNER’s answering vending machine, Kang Leader!

SEUNGYOON: I want people to ask these kinds of questions! Questions that aren’t typical! (Laughs)

What are you most interested in these days?

JINWOO: Acting and WINNER’s new music

SEUNGHOO: I think about how we should transform our image for our new music.

MINO: …Working on music…

SEUNGYOON: # WINNER comeback # Nylon # CKjeans # INNERCIRCLE

What is something you tell yourself most often?

SEUNGYOON: I never say this out loud but I always end up asking, “Is this the best you can do? That person can do it, why can’t you?” in my heart.

SEUNGHOON: “You need to wake up…!” (when going to work in the morning)

JINWOO: “Let’s do our best!”

MINO: “It’s ok, I’m right! Let’s try our best!”

What is the most precious thing in life?

MINO: Happiness. Childlike innocence.

JINWOO: Happiness for me too.

SEUNGYOON: Happiness. I want to live to become happy and then give happiness to many others.

SEUNGHOON: Inner peace. I long for a simple and pure kind of life instead of something fancy but I think I still have a long way to go!

Then what do you fear most in life?

SEUNGHOON: Betrayal from a close precious person I trust.

SEUNGYOON: Being alone. Being anxious. No matter how much money a person earns and no matter how bountiful their life is, it’s meaningless and lacks happiness if they don’t have anyone to share it with so what’s the point?!

MINO: My changing without knowing it myself. The changing of a method of thinking and deciding in an environment that I adjusted with others. And that leading to losing things is so scary!

Each of you had many more individual activities (in 2017). What direction do you want to take in expanding your fields?

MINO: I’m receiving a lot of love thanks to “New Journey to the West Spin Off: Youth Over Flowers WINNER” and “New Journey to the West”. Because the public’s awareness of me and my image from variety shows is so large, I feel like many people, excluding our fans, only know WINNER through variety shows. That’s why I want to hear people say, “WINNER is good at music and they’re funny,” after seeing our music activities!

JINWOO: I want to be of strength to all the people who listen to my singing and like it or think positively about it. If it’s anything in that domain, I’m willing to challenge myself in anything.

SEUNGYOON: I don’t limit myself to certain genres or domains. Naturally, my roots are always in music but if it’s about making our fans and people happy, I’m willing to challenge myself in any fields.

SEUNGHOON: I was very thankful that we received many opportunities that raised the public’s awareness of us last year. Above anything, I want to be able to have a deeper level of communication with our fans.

WINNER’s consistency! Where does your energy to keep going come from?

SEUNGYOON, JINWOO, MINO: Our fans! Of course it’s INNER CIRCLE! Seeing our fans happy is our biggest motivation and inspiration! “Our fans”. Thinking about the people who like us and wait for us makes us anxious about sitting still!

SEUNGHOON: But don’t you think the start of everything was Song Finger (laughs).

Do you have habits while making music?

SEUNGYOON: Taking notes! Whenever I think of something or get inspired, I write it in my phone notes app or voice record it. Because living while moving around a lot and busily makes me forgetful.

SEUNGHOON: Save it in my computer notes app♥︎ (T/N: Produce 101’s “Save it in my heart” catchphrase)

MINO:  I can only start working on music when I have three bottles of water, my phone on “Do Not Disturb”, have my most comfortable pants and shoes on, and block out anything that may break my concentration. Unless I know beforehand that I’ll be working with someone, I feel like things work better when I work alone. I work well at night so I don’t work any time before 10PM.

There are many people who are waiting for WINNER’s new music.

MINO: We are working hard to prepare everything so that we’ll be able to come back with good music. Seungyoon will tell you more about the details.

SEUNGYOON: We’re preparing for our comeback with February as the goal. But we can confidently promise that we’ll be even more busy this year!

SEUNGHOON: We hope that everyone anticipating WINNER’s music won’t be disappointed kkyu kkyu (aegyo)…

  [INTERVIEW/SCANS] #WINNER for NYLON Korea Magazine (February Issue) This is probably not what they mean when they say only non-fans get lucky. Anyways, 2017 was a busy and meaningful year for…

[notsexandthecitybutablog]

Ummm Yo Slim????

Y’all.... WTFFFFFFF!!!!!! I am over here dying laughing and confused. I was over here looking on Nylon Magazine’s website and I cross over an article speaking on Eminem slipping casually in an interview that the homie used Grindr. I know everyone probably has seen it already but I was real life shook. And a lot of people were stumped on twitter stating how shameful it was that the interviewer did not ask any further questions. Like.... SIR, SIR, DO YOUR JOB!!!!!! I would’ve leaned over and said “scrrrrrr... pause, rewind and play.” Though the Nylon article did not contain much info, I was still intrigued and wanted to come over here and something. As I googled and image for Eminem, a fox news link came up as well. It had a small bit of the interview, which was also in the Nylon article, and at the bottom had a clip from the movie “The Interview” where Eminem said he was gay. Someone needs to show the interviewer this clip because the way James acted is the way you follow up lmfao!!

What y’all think? Was it a joke and all bullshit or no? Honestly, I could see Em being “the try something once” guy in college or even a bit bi.

Links: https://www.nylon.com/articles/eminem-grindr-dating

http://www.foxnews.com/entertainment/2017/12/20/eminem-says-uses-gay-dating-app-grindr-in-shocking-interview.html