#the songs have no structure and sound like a 13 year old wrote them

[manda-kat]

Looking at Wish, I just keep thinking of the people who called Frozen a 'lazy movie' because they used really similar face shapes for Anna, Elsa and their mother.

Look at the ice and snow effects in that movie. Listen to the music. Enjoy the comedy. Remember that it isn't even close to the beauty of Disney's best and yet it still remains a work of art.

Now look at Wish as the monkey's paw curls. Hey- at least they use different face shapes.

[basilepesso]

REM, Murmur and Carnival of Sorts, Live 1 983 (USA)

Absolument (le son du live 1 est moins bon que celui du 2).

Ca fait toujours bizarre de voir Stipe avec ses superbes cheveux...

Murmur est très particulier dans la discographie du groupe, production extrêmement nette et sans fioritures, avec une basse qui sonne magnifiquement et est très audible, quasiment comme dans Violent Femmes.

Mike Mills est probablement un des meilleurs bassistes des 80's, sinon plus. Son jeu au médiator est ce qui donne ce son, en plus de la marque de sa basse.

Comme le dit ce remarquable texte anglais de Decade 7787, l'histoire de la production du disque est intéressante puisque le groupe a cessé la collaboration avec le 1er producteur, jugé trop perfectionniste.

Basile Pesso, 13 avril 2 024 avec le double live (Fb)

---

"On this date in 1983, R.E.M. released their debut studio album MURMUR, (April 12, 1983).

NOTE: The video here features RADIO FREE EUROPE from MURMUR and CARNIVAL OF SORTS (the third song on the band's 1982 debut EP Chronic Town)

40 years after its original release, MURMUR is still fascinating in its eerie sense of musical space.

Back in 1983, REM were most often compared to the Byrds, and thanks to Peter Buck's ringing guitar on songs like ‘Talk About The Passion’, ‘Catapult’, or ‘Sitting Still’, along with Michael Stipes' lead vocals over soaring harmonies, it was easy to see why.

But that was merely one influence, and a misleading one at that, because with no one source dominating, R.E.M. faintly recalled a host of mid-'60s L.A. bands from The Leaves to "underground” faves like Kaleidoscope, David Lindley's first band. R.E.M. might have thoroughly transformed their influences but the result sounded both familiar and wholly original.

Murmur's oddness was affecting because it wove itself around structures and riffs that sounded familiar – a strange system hum, for instance, winds itself up into the catchiest opener, RADIO FREE EUROPE.

In these efforts, Buck's guitar solos were capable of breaking through the mix and soaring, and any band that could come up with melodies this rich knew a thing or two about pop music.

The lyrics, however, were a flight of ideas from the mind of a meditative 23-year-old. Trying to unravel them, it still feels as though you're divining the deepest of riddles for meaning.

“Early sessions for the album with Stephen Hague, the synth-pop producer who later worked on New Order's True Faith, were quickly rejected, and American producers Mitch Easter and Don Dixon were brought in instead,” wrote Jude Rogers for Word in 2009.

“They seemed to understand that although REM had the rhythms of rock, the jangle of the Byrds and the raw grit of Gang Of Four in their belly, they also needed to create a sound-world of their own. Easter and Dixon brought in strange noises – bangs and bells — and recorded instruments at varying distances from the microphone, so you couldn't place where the ghostly figures were coming from.”

“At the album's centre point, like a pearl in an oyster, is a song that tells us as much about REM today as the REM that existed a quarter of a century ago. This is 'Perfect Circle', a masterpiece of simple melody and melancholy, and one of the few REM songs to be attributed mainly to the band's former drummer, Bill Berry, who also wrote most of 'Everybody Hurts'.”

[tommystonsils]

tagged by @westerberg thank u so much!!! 💜💕💖💞💗

1. relationship status: single :(

2. favourite colour: oooh lots!! lavender, forest green, bubblegum pink, and seafoam to name a few!

3. favourite food: I also don’t have a straight answer to this bc i Love Food. Pierogi are a big one, but so is kimchi ramen. Also a rly good hamburger is the way 2 my heart. Oh and I’m a fan of figs. Figs w goat cheese, roasted, w herbs, in jam, YEEEAAAHHH

4. last thing i googled: literally the word seafoam bc “seafoam green”, seafoam is one word and not two……

5. dream trip: listen man i have been trying to plan a trip to minneapolis for like three years now and all sorts of shit always came up and i had to make a whole new plan every time. i love the midwest with my whole heart, if someone asked me “hey we could either go to chicago or italy” bon voy-a-gee i’m taking chicago every time. also i’m supposed to be going to mpls next summer so FINGERS CROSSED. also a huge ireland/scotland/wales trip would be so fun.

6. time: 7:52

7. last book you read: oooh it’s a boring book for school BUT i am currently reading The Hobbit and it’s rapidly becoming one of my favorites ever.

8. last book you enjoyed reading: Lemon Jail by Bill Sullivan. it’s about an hour and a half read, super short, probably some of the funniest Replacements anecdotes and it also gave me an even bigger appreciation for what Bill went on to do after being the mats’ right hand man. I’ve also read this like 5+ times now.

9. last book you hated reading: my case studies textbook for applied learning theory because my professor wrote the book and the structure of the case studies are extremely bloated and the dialogue is comically bad. anyway

10. favourite craft to do: paint + also i have a bedazzler……..

11. most niche dislike: when “new vinyl” comes out and you buy this overpriced reissued record and put it on your record player and it rains rice krispies on your stereo w all them snap crackle pops. stop trying to make new records sound old!!! i have literally had new records skip parts of songs bc the grooves were pressed incorrectly!! i’m not a fan of newer reissued records bc they all have that “we’re trying to make this sound old and beat up for your vintage vibes” thing

12. opinion on circuses now and in history: do not like them. many of them were once human zoos, the whole “freak show” with traveling circuses still happens at state fairs and it’s just rly gross and ableist. not to mention animal abuse which was literally the reason my family Never went to the circus. although i completely agree w @westerberg on ur comment about Paul bc yes!! i rly appreciate stagecraft and the art of show business.

13. do you have a sense of direction and if not what’s the worst way you ever got lost: sense of direction is REALLY BAD. i live on the east coast (floriduh) so I’ve tried the whole directional thing with looking at where the sun is but nope! worst way i’ve gotten lost was in middle school trying to find a class in a hallway that wrapped around, so I was speed-walking, panicking in a circle for a few minutes after the late bell.

tagging @kelly-jeanne @awesomgrlgr8job @nettys-girl !! c:

** i just realized i numbered this wrong LMAO im fixing it

[x--daughters-of-darkness--x]

Garbage’s Shirley Manson: “Being human is to be messy. If you think you’re above all that you’re in deep, deep trouble”

As Garbage unveil their first new album in five years, No Gods No Masters, Shirley Manson talks getting political, cancel culture, and why speaking up is more important than ever…

A metaphorical low for Shirley Manson involved a poster, a car journey and getting dumped. A lawyer for Garbage​’s label Interscope records called and told her she was dropped.

“I was about 40 years old at the time. My mother was dying, I was abjectly miserable, my career was on the skids,” she remembers, convincing herself at the time, ​“You will never again recover, you’re a woman over 40, you’re screwed.”

On the journey home alone after this call, she drove down Los Feliz Boulevard, five minutes from her house, and looked to her right. There in front of her was a shop-sized display poster of Garbage being sold at a yard sale for a few dollars. ​“I looked at myself being sold on the street, literally. And I burst into tears and I slumped down in my car because I felt like everyone could see me. I felt deep, deep shame, which is not an emotion I experience often, for my sins.”

Shirley explains today from her LA home that shortly after that experience she had a revelation: ​“It doesn’t matter if you never get signed to a record label again. It doesn’t matter if you never perform again in public, you can still be a singer, you can still be a creator, you can still be an artist.” Since that moment, her career – and her relationship to it – has been a healthy one. Still, the lyrics she wrote based off this pivotal experience were words she was eager to use in a song for 12 years. Nothing quite felt right… until now. They appear on a heavier highlight of Garbage’s new record, The Creeps (‘I was so upset, I saw them selling me out / Right there on Los Feliz Boulevard’). ​“That song is about not listening to my feelings – that narrative I feed myself is often just as negative and inaccurate as a stranger telling me what to think.”

The capitalistic misogyny of the music industry and the world at large is just one of the weighty topics Garbage sink their teeth into on No Gods No Masters. Tinged with a gothic darkness, it’s a dystopian, slow-paced and angular album, and one that feels timely for all its ​’80s sonic influences. It stands out from their other releases for covering racism and police brutality and wealth disparity. A reoccurring image of white men as undeserving and cruel gods looms large. These themes that have been relevant for decades – if not centuries, millennia – but listen to it and you can’t ignore the fact it speaks to the last couple of years.

Speaking of the pandemic, Shirley is feeling grateful and thoughtful for her own circumstances. As a musician she’s been focused on the injustice in the lack of support for artists on both sides of the Atlantic (“You’re literally considered a nothing as a musician”). In the UK, those involved in the live music industry were encouraged by the Conservative government to retrain. But they’re fortunate, thinks Shirley, if only compared to America, where government furlough money didn’t help those whose jobs were in jeopardy or defunct.

“I’m concerned about all the young musicians who have not received any support from their government, and have been left to rot,” she says. ​“I know a lot of struggling musicians who literally can barely feed themselves. We’ve got a terrible homeless situation here in LA, and I have people living in tents two steps away from my house. And that is a very healthy reminder of my good fortune and my privilege.”

Opening up about adversity faced by musicians – especially female musicians – within the industry is something Shirley has done for years. The commentary around Garbage’s treatment by labels or ageism inadvertently leveraged against her has followed the band through almost every step of their career. It’s a significant part of the Garbage story.

“I think a lot of artists are fearful of speaking the truth,” she says when this is put to her. ​“I just think that the most powerful version of oneself is the most authentic version. That to me is when you have no secrets, you’re not cowed, you’re not scared, because the truth is out. I think people are very frightened that people discover things about them. And that truly does make you vulnerable. When you’re lying and deceiving, you’re constantly spending energy trying to hide your life. And I just don’t have time for that.”

No Gods No Masters is the first major label release from Garbage for years, and unusually – ironically, almost – it’s their most political. Their last two albums – 2012’s Not Your Kind Of People and 2016’s Strange Little Birds – were released independently through Garbage’s own label Stunvolume, which they set up to be free, of ​“greedy corporate interest”, as the band put it in a Facebook post at the time. The decision to return to a label was because they struggled to maintain their footing in the industry without it: ​“We couldn’t really get our records distributed. We couldn’t get on radio; nobody would take our calls. We simply could not compete. We realised that if we didn’t make this leap at this particular moment in time, we would drown entirely.” But returning to the corporate fold explicitly meant not giving up creative freedom. One of the key understandings was Garbage having total control over whatever they did.

But Shirley wasn’t overly concerned about the threat of control anyway.

“If you’re lucky enough to stick around long enough, the economics of [our] sort of discography allow you a certain kind of autonomy,” she says.

So there was no pressure from people telling you not to make a political record, for example?

“I think as you get older, you’re able to parse pressures more effectively. You’re able to set boundaries. You can hold that [boundary] and not fret that somehow you’re going to be punished for that. Because that’s the deal: if you have integrity and you don’t compromise, you will be punished for it. That’s how it works. As you get older, you stop caring so much about that threat and about that reality.”

Back in 2018, Shirley experienced another turning point. She was asked to speak alongside trans black activist Ashlee Marie Preston and sex educator Ericka Hart at an intersectional feminism event and was, essentially, educated herself.

“Both these women are phenomenal powerhouses and they have great minds, agile minds, and they really took me to school. And they were very gentle with me, I have to say, but I was mortified at my ignorance, regarding systemic racism and a whole gamut of things. I determined then I had to educate myself about the black experience that I knew nothing about.”

In these situations, it is often the case that white people get defensive and shut down. ​“I too had a flare up of defensiveness, but I knew deep down, you don’t feel your ears burning for no reason.” Her education involved reading Patrisse Cullors and Asha Bandele’s When They Call You A Terrorist: A Black Lives Matter Memoir and James Baldwin, Maya Angelou and Alice Walker. It was watching The 13th, the documentary by Ava DuVernay. It was learning about the murder of Trayvon Martin and the murders of other black people at white hands, the hands of police.

This drive to self-educate didn’t fizzle out after a brief spell. ​“I’ve spent 54 years, or 50 years, being an ignorant, white privileged woman in the world. And I’ve got a lot to learn, and I look forward to learning more,” Shirley says. Feelings of sadness and shame were mixed with an understanding that she was being compliant in ignoring black suffering, as she was trained and expected to. ​“We’re conditioned to not look, because once you start looking, you can’t turn away, unless you’re a monster or a devil.”

The year 2018 was also when the band started writing for the album, though Shirley says there was no intention for this to be a political record. ​“Nothing’s premeditated, and nothing is planned,” she reveals of when the band get together to write an album. It’s a process of them coming together and simply writing in the moment, with Shirley responding to the music the rest of the band provide. It just happened that it coincided with this reckoning in her personal life: ​“I just allowed who I was in my private life to come out into the record, all the preoccupations at that time, dripped out onto this record, simply because I didn’t put up a barrier.”

Most of the writing happened in Palm Springs at Garbage guitarist Steve Marker’s in-laws’ house. Even for a band as legendary as Garbage, there are financial considerations (“It was free accommodation,” Shirley laughs). ​“Bands now have to be really careful about their economics. That’s why there’s a plethora of solo artists and fewer and fewer bands, because they are hard to sustain. They’re these weird little microcosms that nobody wants to spend money on. We had a limited budget and we were like, ​‘Okay, how are we going to pull this off?’”

They honed in on their long-time influences of Roxy Music, Gary Numan, Siouxsie And The Banshees, The Cure and Talking Heads to create an ​’80s feel. The fact that Butch Vig received a delivery of a brand new drum machine the day they started writing set the pace of the record, quite literally. ​“He didn’t know how to work it,” she remembers. ​“The fact the drum tracks sound rudimentary are just because he was feeling out how to work this machine.”

From its opening track, The Men Who Rule The World, it’s evident this is a record about men who set up and maintain the capitalistic structures that are destroying the planet and lives for the vast majority in work. Mention the fact that nearly 500 people became billionaires during the pandemic and Shirley replies: ​“These billionaires are more powerful than any government in the world. How is that even legal? I said earlier about people living outside my house in tents: it’s heartbreaking, too painful, too obscene.”

To write songs like Waiting For God, a self-explanatory track about racism if you listen to the lyrics, opens Garbage up to getting it wrong. This is a small price to pay for speaking on these topics, Shirley says. ​“If that requires that I be a little discomforted, so be it. If that requires somebody pointing a finger at me and laughing at me or criticising me, so be it. I’m middle-aged, and I’m starting to see the end of my lifespan. And I don’t want to leave this world thinking that I didn’t lift a finger to try and make things better for generations to follow. I want to know that I at least tried to speak up in defence of someone else. As white people, we all have to just get over ourselves a little and be willing to be uncomfortable.”

And why is a fear of being cancelled by people for getting it wrong more important than having a go at making the right statement?

“Cancel culture is such a tool of bullying and again, a tool of shutting you down and shutting you up,” replies Shirley. ​“Every human being, every artist, every icon has made mistakes. You’re not going to find a perfect person in the world ever. And I think it’s so immature and silly to think that you will. And my God, how hard are you being on yourself, if that’s how hard you’re being on other people?

“Being human is to be messy,” she continues. ​“And if you think you’re above all that you’re in deep, deep trouble.”

It’s inevitable that some listeners will think this album has been written in response to the last couple of years, rather than envisioned three or more years ago. While the members of Garbage are pleased they’ve made a record that feels prescient, it’s both an ancient and timeless album: these are the oldest issues known to humankind. But in true Shirley Manson style, her feelings and opinions are disclosed to us listeners as evidence of where she was and where she is.

“I’m sort of grateful for the record,” says Shirley. ​“We have a public testimony of where we stand in this world as people currently. What we’re in disagreement with, what appalls us, and the hope that we have for the future.”

[powerbottomeminem]

2, 4 and 13!!

2. what's your top 3 Eminem songs?

Three is a seriously too small a number 😖 I will have to go by album. And that’s still too fucking few.

"Rock Bottom" from the Slim Shady LP is a classic. Lying out his struggles in such a precise manner and in words I can’t help but feel compassion for. And catchy, too.

"Kim" from The Marshall Mathers LP is definitely one of my favorites. Full of raw emotion, heartbreak and his inability to cope with life. The story telling and detail is stunning, still rhyming and hitting the beat while everything sounds like a casual conversation. Impressive! It’s hard to listen to, which to me highlights the pain he is going through.

"Cleaning Out My Closet" from The Eminem Show was the first song of his I loved dearly. Didn’t own any of his music yet when the single hit MTV, didn’t know who he was or what Hip Hop is and didn’t understand a word he was saying. But I understood the feeling of a family broken and that spoke to me.

Sorry, Encore, I don’t like you that much.

"Stay Wide Awake" from Relapse is a great feat in writing skills, rhyme schemes and narrative structure are clearly artistically formed and yet it still sounds conversational. Also, I love his horrocore rap. Relapse is one of my favorite albums.

"Space Bound" from Recovery I adore, mostly because of the sound. I’m a sucker for his love songs and this one has a cool vibe in all senses of the word.

"Berzerk" from MMLP2 is the only goofy single of his I actually love. I can’t help but move my body to it, and believe me I definitely don’t dance.

"Walk On Water" from Revival. Mostly because I feel with his artistic soul, being torn between the expectations of others and what would be successful, but on the other hand having your own artistic vision you want to realize. I’m but a mere unread fanfic writer who gave up on becoming a "real author", mostly because I don’t want to fight over whether my artistic vision is "trendy" enough. I also like how slow the song is.

"Nice Guy" from Kamikaze has a great sound stage. Contentwise it’s the same old sick love song, but with Jessie Reyez's voice it becomes all fresh and gains a new intensity his heartbroken songs have lost over the years.

"Farewell" from MTBMB has my fanfic head spinning every time I hear it. So much heartbreak to write to this song and the chorus just makes me wanna sing my soul out.

4. favorite Eminem lyric?

😭 Impossible! Only one? You have to be kidding me! Away, heathen, shoo!

I wanna be the best who ever did it Don't know if that goal is feasible, or it isn't But if it is then God, if you're listenin' Please grant me the strength to crush all competition You can't blame me for dreaming, I'm a dreamer And if I'm coming off brash, please forgive me But, that's all I want

from “Our House” by Slaughterhouse featuring Eminem and Skylar Grey.

His strive as an artist and his focus on improving himself is inspiring to me. As a writer I don’t only want to tell a story but also have it mean something. I’m always challenging myself to stretch my skillset, even in a work like LiE that was only meant for fun and daydreaming I still end up trying to writer better today than I wrote yesterday.

13. favorite performance? (for either)

First of all: I don’t care for concerts whatsoever. I don’t go to them and I don’t watch them.

My favorite performance by Eminem has to be his performance with Jay-Z of "Renegade" live at the Letterman Show.

Funfact: The performance being on a rooftop surrounded by all the skyscrapers is an inspiration for the beginning of an (unfinished) ghoul fic, that is constructed around the Gangsta. opening song "Renegade" by Stereo Dive Foundation. The story has absolutely nothing to do with neither Eminem nor Gangsta., I just put music in every of my stories.

As far as MGK goes, I honestly haven’t seen many performances by him. But the first thing I checked him out with was his performance with Youngblood for the Late Late Show. I found that very gripping and emotional and it convinced me to check the rest of his discography out.

[thehaemanthus]

Fic Writer Review

Makes it sound like I’m going in for my two year evaluation at the company, lol

Tagged by @asteria-of-mars, thank you lovely! 

1. How many works do you have on Ao3?

18

2. What’s your total Ao3 word count?

234,866.

3. How many fandoms have you written for and what are they?

Mmmm, technically 8, but some of that stuff will never be advertised again. 

ACOTAR

Red Rising

The 100

Throne of Glass

The Selection

PJO

The PJO phase is old and we shouldn’t revisit it :/

4. What are your top 5 five by kudos?

live once (once is enough)

lay yourself down, pick yourself up 

love was a song (a surprise to me, tbh, but a welcome one!)

to take, to worship

therapy

5. Do you respond to comments, why or why not?

Yes, almost always! I always want to share what I’m thinking and interact with readers. I want to show that I appreciate them taking the time to leave a comment, because that interaction is so meaningful to me. Sometimes, if there’s not much substance to the comment (a heart or a “good job!”) I won’t respond though. 

6. What’s the fic you’ve written with the angstiest ending?

Prologue would have been very angsty, but I didn’t finish it. Prodigal Sister is a little angsty but also hopeful, In Pursuit of Power is gonna be pretty angsty

7. Do you write crossovers?

Nope. I’m not opposed to them or anything, but I need a reason to write it, ya know? It’s gotta be done well. 

8. Have you ever received hate on a fic?

lol yeah, I think so? It’s hard to be like “wow, this is some vitriolic hate” because my reaction was almost always “lol what”. I have never had anyone attacking me personally, but definitely people who didn’t like what I wrote. 

9. Do you write smut? If so what kind?

Uhhh, yes. For ACOTAR, and then there’s a Red Rising Darrow/Mustang thing floating around that I might rework because I am more confident now. 

10. Have you ever had a fic stolen?

I don’t believe so

11. Have you ever had a fic translated?

Possibly? Someone asked to translate love was a song, but I don’t know if it ever happened 

12. Have you ever co-written a fic before?

No, but I would be very interested in trying

13. What is your all time favorite ship?

Ugh. Bellarke is up there and will always be there, but the way everything ended hurts me still. I do like Feyre/Rhys, but I don’t know if they are a favorite. I think, bear with me, that it’s Katniss/Peeta. I know, I know, I haven’t even written for them. But they have some of the best fic I’ve ever read, a unique love, and it’s a fandom I come back to quite a bit. 

14. What’s a WIP that you want to finish but don’t think you ever will?

Pfft, like, everything. Stuff for The 100, Prologue, one of many ACOTAR ideas. 

15. What are your writing strengths?

I think I’m alright at dialogue. I do my best to make it realistic and snappy. I’ve been working on vivid descriptions, so while I don’t know if it’s my best feature it is something I’ve been working to get stronger on (I’m curious, if you are reading and have read my work, what do you think my strengths are?)

16. What are your writing weaknesses?

Plot. live once (once is enough) started off as one-shots because I didn’t want to create a plot, haha. Then Vesriel decided he needed an entire story, and I did it! I worked on a plot, figured out three act structures and character development and how one thing can lead to the next. 

I think writing complexities are hard too. Whether that’s in plot or in characters. As a writer, and therefore an outside observer, it’s easy to say “well, that’s the best path there.” But characters do not have that bird’s-eye view, and they need to be flawed and make mistakes to make for an interesting story

17. What are your thoughts on writing dialogue in other languages in a fic?

I think it’s neat, though I haven’t personally ever done it. If I needed a language I don’t know for a fic, I’d do some heavy research and see if I could consult with anyone. But yeah, I’d toss in some Spanish if the story called for it. You can do some fancy html-ing in AO3 to provide translation by hovering over the text, so I don’t think it would detract from the reading at all. 

18. What was the first fandom you wrote for?

Okay so. Knowingly? Harry Potter. Unknowingly? In third grade, my teacher had us write a “what would happen next” after we finished reading Stuart Little. 

19. What’s your favorite fic you’ve ever written?

live once (once is enough), and by extension, The Second Son. Actually, it’s probably The Second Son. I’m proud of the family I created, the little adventures. And I’m proud that I took on a challenge and wrote a whole story about Vesriel with plot, haha. 

hmmm who do i know who writes fic. @arrowmusings @the-lonelybarricade and anyone else who wants to? 

[tvwriteups]

ESC 2021 GF

Opening was okay. Think that's the largest the stage has looked.

Watching on PeacockTV. No commentary. This time I'm watching through my speakers and not through headphones. Not gonna do a rundown since a lot of the songs are familiar.

I did not watch any of the big 5 or the Dutch rehearsal/jury videos so I'll be watching those whole for the first time. (I probably should have watched them. Oops. Too late now!)

I really have no idea who will win. Kind of makes it exciting!

What's a little weird with my setup is how much "sharper" the music sounds on my speakers.

Let the Grand Final of the ESC begin!

1. Cyprus

2. Albania

3. Israel

4. Belgium

What's funny for me here is that the Belgian song is growing on me on this third listen. I like it more each time. (This might actually make my Eurovision AND Hooverphonic playlist!) With the other songs I was... like I didn't feel the level of "excitement" I felt when I watched them earlier this week.

5. Russia

Oh yeah! This is another one I'm liking more on a second viewing. I like her expressiveness. This is never not interesting. And an enthusiastic response there.

6. Malta

Maltese Lizzo. I know this is very popular with the ESC crowd and I get it but it doesn't personally register with me. I think it's the speed. It's like the same fast speed and mostly same level of "noise." Crowd really loooooves it though. Might just be my own autistic sound processing issues.

7. Portugal

I still am impressed with how well-structured this is. I'll probably forget the song next week but when it was being performed I never lost interest.

8. Serbia

They seem so wholesome in their postcard. Hmm, singing doesn't sound as good on my speakers. This is like the first 3 songs for me.

And now a break.

Kind of sucks performing early because it hurts you with the vote but at least you get to sit back easy and watch the rest of the show.

I still feel very conflicted about how to feel about Junior ESC. Lots of pressure to put on children.

Jamala, Emmelie de Forest, Duncan Laurence on where they keep their awards... nope, Nikkie, I'm not gonna check out the live blog. I like the ESC but even I have to draw a line somewhere.

9. United Kingdom

First time watching. I don't understand these British songwriters who perform their own songs and yet... like, it doesn't sound ideally suited to their own voices. It was okay but it's another one I'll forget in a week.

10. Greece

Well, I didn't get to watch this properly the first time so here goes: I don't like the huge reliance on effects but it's BEHIND her so it's completely acceptable to me. I think this would've worked better for me if the dancing was "more [active?]" since it's a fast song about dancing.

The hosts briefly have to tell us something for some reason.

Hmm, apparently a lot of my sound issue is that the rear speakers are coming through louder.

11. Switzerland

This is playing much better for me today than it did the other day. The overall performance is better. I don't like the epilepsy-inducing light though. That's my only complaint. Well done!

12. Iceland

Well, literally the same exact performance we watched the other day but it was fun so... and my viewing experience is slightly different so... Hmm.. what I'm really feeling right now is a song placement thing. We went from intense to chill and that energy change is a bit much for me.

13. Spain

This song does not have a strong hook. I ... can't remember the song and it only just finished.

14. Moldova

I honestly don't think this song would've made it through the first SF. I just don't care for it. I think I spent most of the performance looking at the dancers when that was an option.

15. Germany

This feels like a cross between a Moldovan and a San Marino entry. I dunno, I enjoyed it. I wouldn't watch it again though.

I do also understand that part of watching this as an American is that I don't ever have to feel embarrassment that I'm being represented through any of these performances.

16. Finland

Now that I know that this is like this I'm totally not interested. I'd probably feel very differently if I was in the same space as these guys because it's a SHOW!

And another break. Oh, the broadcaster boxes. I always assume that they're going to harass Graham Norton but they're actually visiting the Danes right now. And the Russians.

Hosts talking about orchestras now.

17. Bulgaria

I remember this postcard from the other day because of the menagerie this girl has. This song is also growing on me. I was confused about the lyrics the other day but now am experiencing them as playful. Feeling the "production" of this one.

18. Lithuania

It's hard for me because I really liked "On Fire." I'm really enjoying this the second time and a really great, entertaining performance. And maybe it's in a better place during the night.

Hosts talking about the app. They're really hammering this whole "clap along" thing (which I haven't found on the app because I'm probably too old to care).

19. Ukraine

This song is a trip. Bangy-est banger of the night. You just never know.

20. France

You know, this comes off as something the juries would love to award. Damn, girl! You know, I wasn't impressed when they showed the short clip at the end of the SF. You really have to watch the whole thing.

21. Azerbaijan

Seems more appropriate to sing about Mata Hari than Cleopatra in the Netherlands when you think about it. It could be because I've already seen this before but I'm still processing France. There's also something about this staging that makes them look small on the stage to me.

22. Norway

I don't know why I find him adorable but I do. This song feels like a hug. (Or it's the "feathers." LOL)

Mini-break about what's upcoming.

23. The Netherlands

I was into it until the last 30 when it got really repetitive but that's still an overall like.

24. Italy

I really can't predict anything. I dig this but we've sort of filled a quota for intensity for the night.

25. Sweden

I'm just kind of like....of course Sweden has the Rijksmuseum postcard. It's like the most recognizable place in all of these postcards. And be near the end of the show. I'll be honest: I'm just predisposed to be against Sweden. Ugh, epilepsy light. I can't even look at the screen. Also, I liked Russia's "A Million Voices" in 2015. I'm guessing this song did not look like this at Melodifestivalen because it's really looking terrible on my tv. This is the worst visual presentation of the night.

26. San Marino

Honestly wondering how well San Marino is gonna finish this year. This felt more awesome the first time. Well, also Flo Rida delightfully surprised me the first time.

And how our hosts telling us about the importance of voting. I have no idea how these are going to pan out. I just know that if I was voting I think I'd throw my votes at Ukraine and France...while feeling bad that I'm not throwing some at Bulgaria, Iceland, Lithuania or Switzerland. (I also liked Russia but I wouldn't vote for them.) I mean, I liked Italy but... I don't know. I think I ran out of energy by then.

Really think it's that Ukraine and France just zapped my energy for energetic songs. The only one I felt after those was the hug of Norway. Or maybe Norway lulled me. LOL.

Would be interested in the televotes for some of these countries.

Recap. Ooof. France doesn't work in short recap clip.

"Music Binds Us"....because we've heard of Afrojack here. I swear every other major city has one of those bridges. I'd otherwise dig this but we've had so much intense music tonight.

I'm guessing we're listening to "Titanium" because Afrojack wrote and produced it.

I'm sitting here wondering if ANYONE is going to vote for the UK at all. Or, really, how many of the Big 5 are going to be in the Bottom 5.

Another recap.

Another Nikkie ESC Tutorial segment. This is actually kind of annoying.

And now a behind-the-scenes montage while the voting numbers are displayed at the bottom.

Catching up with past winners now.

ESC honoring itself again. Enjoying how much they're not overemphasizing the whole "in front of a live audience" stuff like they were doing the other nights.

Another recap.

Oddly, I think Moldova annoys me the most. It feels like the emptiest song in the final.

How quickly are they going to burn through the votes. It's already feeling like this show is long.

65th anniversary stuff. Rock the Roof. Måns again. I don't like this song. I think 2015 was a great overall year (even if I was able to predict the top 10 (except for Latvia) but I still listen to a lot of songs from that year... just not "Heroes." I resent that I have to hear it every year now.

Teach-In....because Dutch and because we need a song with 'Ding" and "Dong" in it.

SANDRA KIM!!!!!!!! Forever the youngest winner of this contest.

Lenny Kuhr.

Helena Paparizou. LOL, totally sticking to the choreo.

Lordi. Probably had to choose their roof first to get the permission to shoot the pyro off it.

So are they saving Duncan Laurence for when they calculate the votes? It feels like the voting window has been open forever now. I keep looking for a countdown clock.

This sounds like a way of saying Duncan Laurence has tested positive for COVID without saying that he tested positive for COVID.

Are they emphasizing that the Netherlands is below sea level?

New song... I'll take anything as long as it's not "Nana Banana."

The voting still isn't closed!

Oh, they have a special countdown dance is why. How very Paparizou of them.

Oh, that weird part where they banter with the delegations.

Malta. Just Malta?

Martin Österdahl. Because Swedes. Jury time. I forgot that revealing votes this way eliminates the performances during the vote calculation. They calculate the televote during the jury stuff.

Jury Votes

Israel, the least popular child in the room right now gives their 12 points to Switzerland.

Poland goes to San Marino.

San Marino goes to France.

Albania to Switzerland.

Malta to Albania.

These are going all over the place. But then it's juries.

Estonia's 12 to Switzerland.

Switzerland and France popular with juries so far.

North Macedonia to Serbia.

Recap. Switzerland, France and Italy in the Top 3.

Els and Nikki or however you spell their names. Azerbaijan throws their points at Russia of course.

Norway to....Malta.

Spain to France.

Austria to Iceland.

Ooof, UK, Spain and Norway totally blanked right now.

The UK....with Amanda Holden...and 12 points for France.

Italy gives its 12 points to Lithuania. No points for Switzerland from them!

Now it's just the UK blank.

Slovenia to Italy.

Juries don't like Ukraine. :-(

Greece...making us try not to boo by having a child tell us that the points are going to Cyprus.

Latvia with Aminata of course. 12 points go to Switzerland.

Ireland to France.

Moldova epic saxing us. Epic saxing Bulgaria too.

Serbia to France.

Bulgaria to Moldova. Ugh.

Cyprus ...should've used a child. Even the crowd is all "Greece, duh."

Belgium to Switzerland. It's almost like they have something against France, LOL.

Banter with Switzerland. Banter with France. No cringe. Practically no cringe in these interviews. They're adorable.

On a side note, my HVAC is dying on a 90 degree day.

Germany to France.

UK still sitting on a jury egg.

Australia to Malta.

Finland to Switzerland.

Portugal to Bulgaria.

Ukraine to Italy. Love the 0 points to Russia there.

Iceland. LOL. LOL. LOL. Of course a "Jaja Ding Dong" reference. Switzerland for them.

Romania to Malta.

Without televotes this stuff is almost meaningless. I can't imagine France getting the televotes.

Croatia to Italy.

Czech Republic to...like who would they.. oh Portugal. Of course. LOL.

Georgia to Italy.

Lithuania to Ukraine.

Denmark to Switzerland.

Top 5: Switzerland, France, Malta, Italy and Iceland.

"A Million Voices" Polina telling us Russia is giving their points to Moldova. Lots of side-eye from me.

France can't give points to themself so.... Greece. I... I... don't know.

Sweden with Carola. OMG Carola....why so much talking? Did she take something? Or drink something? She's on something. Gives their points to Malta.

Switzerland gives point to France. Most anticlimatic points reveal.

The Netherlands gives its points to France.

UK with ZERO points from juries.

Switzerland, France, Malta, Italy, Iceland.

We don't see the jury performances so...like... I dunno.

Gonna waste time in the Green Room again before the televote reveal. Talking with Switzerland... meaning that Gjon gets to replace John Lundvik as the face of losing if they don't get enough votes.

TELEVOTE TIME!

I hope this goes fast. And they're revealing these in the order of jury votes, least to most. So maybe a different face of losing.

UK with 0 points. OUCH! And they didn't genocide anyone this year! James Newman being a sport.

Germany with 0 points.

Spain with 0 points.

Netherlands with 0 points.

LMAO. I don't think I've ever seen this.

Norway with 60 points.

Serbia with 82 points.

Albania with 35 points.

Azerbaijan with 33 points.

San Marino with 13 points...even with Flo Rida!!!

Sweden with 63 points?

Cyprus with 44 points.

Moldova with 62 points.

Lithuania with 165 points!!!

Belgium with 3 points. Hooverphonic with only 3 points. Better than zero. But totally a jury thing their SF result was.

20 points to Israel.

Finland with 218. Shocker that. For me. Not the public, of course. Now in first.

Greece with 79 points.

Ukraine with 267. Into the lead.

Russia with 100 points.

Portugal with 27.

Bulgaria with 30 points.

Iceland with 180 points...and in 1st.

Italy with 318 points.

Malta with 47 points.

France with 251 points. Into 2nd.

Switzerland with 160 points.

Winner is Italy. So Switzerland is the new face of losing.

Televote alone it's Italy, Ukraine, France, Finland, Iceland, Lithuania, Switzerland, and Russia with 100 or more points. Serbia and Greece rounding out the top 10 in televote.

Surprised and delighted that the public gave all those votes to France. I was not expecting that at all.

In the breakdowns I really would like to see if their are any public correlations between folks who votes Italy/Finland or France/Switzerland.

[thegreatimpersonator]

well since y’all asked

everything will be below the cut so people can just ignore this lol

the wild thing is like... everything everyone was saying from both sides makes sense. the good and the bad. i’ll start off with a pro and cons and then do a short track by track

pros:

i agree with what people are saying about how well this style suits her voice, it perfect. it’s smooth and calming but also doesnt stick her in a box and will allow her to kinda move with it and change things up as she sings, which i know she loves to do.

the production is exactly her too. it’s r&b beats with classic strings... liek that’s completely ariana grande. it’s so interesting and it weirdly works well? 

i feel like you can tell she was just in her element making these songs. i feel like she tapped into something that can be so endless for her and new ideas will be constant.

idk if it’s just me adjusting to hearing her sing but her pronunciation is getting a lot better

every song has at least one good and attractive part to it... there are no songs that i am so completely confused as to why it’s on the album.

it’s for sure my favorite era for her in terms of style

also her best album cover (but sweeter is close second) 

cons:

okay... there is a pattern with this album. every song had a really solid start. so many times i was in love with the verses and the melodies she was singing but... my god are the choruses weak. it’s just one line... repeated... like 4 times... then we move on... and i was sitting here like ‘oh that’s what we were building up to?’ and it happened with every song. so i completely agree about it kind of falling flat most of the time.

it’s so repetitive. besides the choruses mostly all being weak, the themes are all the same. like the 14 songs on the album are all about two things: her being horny or her being in love. that’s it. why did we need 14 songs to tell us two things.

another point: why were there 14 songs? so many filler tracks that just add nothing to the album for me. she could’ve honestly made a solid 10 track album and it would’ve been a good clean piece of work. 

the lyrics... oh my god the lyrics. the one thing i saw people saying, both fans of the album and not, was that the lyrics were really bad... liek they had to prepare people. and my god. there were some points that straight up sounded like 14 year old stan accounts arguing on twitter... ‘you sound dumb... shut up’ SHE USED THAT LYRIC AS A HOOK... she thought it was so good it deserved to be the hook like? and also there’s a lyric that just straight up says ‘read a fucking book’ lol. the good or tolerable lyrics are basically ones she already used before on other songs? like how many time's has this woman sung about fucking while watching movies... 

she needs to stop putting out albums so frequently. a lot of the complaints i see people having is just that it doesnt feel finished or polished enough to be an album. like she should have waiting a few months and refined things. it feels like a stepping stone rather than a destination. she doesnt have a clear vision, narrative or purpose driving the album at all. 

track by track

shut up: this was the first taste of bad lyrics like this is the song about being dumb and i fully was like omfg this is the whole song isnt it. i dig the production though.. this might have the best production of the whole album for me. 

34+35: i felt like i was listening to a horny 13 year old boy during the chorus lol. it just felt really immature at some points... like the giggling every time she alluded to 69 wasnt necessary. also the end where she says ‘mean i wanna 69 with ya’..... sweetie you didnt have to tell us we know we can add. i did like the melody of the pre-chorus. the ‘i’ve been drinkin coffee, i’ve been eatin healthy’ is really catchy and good

motive: god i had such high hopes for this. it first started and i loved the production and the prechorus worked really well... but again that chorus weakness really fucked it. and doja’s part doesnt really fit the song for me? it feels out of place and like she should’ve been put on a more upbeat song

just like magic: first song i actually liked and added to my library! i finally heard a good chorus that didnt feel like it completely slowed down the momentum of the song and helped move it along. and the lyrics are cute. i think for me she needs to improve on the difference between a cute lyric and a cringy lyric... like cute: ‘middle finger to my thumb and then I snap it’ and cringy: the rest of the album. also one thing there’s a lyric about her listening to music she wrote and like girl you had 34 writers on this album... what are you listening to two words? every time she brags about writing it’s kinda embarrassing like.... at no point am i impressed

off the table: this production would have been so good.... if it actually did anything else or went anywhere. it stayed the same the entire time.... for 4 minutes. also stop letting men on women’s music because it seriously never works. her vocals are really pretty though.

six thirty: i really like her vocal delivery in this... like kinda dropping off at the end and just starting to talk? it’s interesting. also the chorus really had potential because it actually got bigger and more layered and interesting but again with the one lyric ‘are you down’ repeated like 3 times then the chorus is just over it’s like... oh okay

safety net: again amazing verse delivery and melody... IF SHE TOOK IT ANYWHERE it would have been great. and again with the male features... not necessary. the bridge is cool with them both singing but other than that it feel flat for me. 

my hair: that smooth electric guitar intro is everything. and this sound of this song is so good.... but.... am i the only person who kinda feels weird about ariana, a white girl, being like ‘you can run your hands through me hair... dont be scared’ like?? why would they be scared... your hair is straight lol. it just toys with the whole idea of ‘don’t touch a black women’s hair’ for me. idk it could totally be a me overanalyzing thing. but god is she sang about anything else this would be my favorite song. second song i added to my library.  

nasty: if i had to pick one song that was my exact expectations for this album before listening to it it would be this one. the electronic hip-hop beat with the harmonies and vocals, all paired together for a song about her being horny (again), like yeah this all fits. it feels lost in some places though. like some points i feel like i have no idea what part for the song we’re on or what’s happening and we’re just treading water. and another weak chorus with 1 lyric repeated over and over again. (also random side not that intro of her talking reminded me of when she gave that billboard interview and people were mad at her bc she starting talking with an accent even though shes white... like thats what i thought of i was like ma’am you are a rich white theater kid form florida you do not speak like that)

west side: the production in the beginning is so cool? where is sounds like a tape rewinding kinda? love that. but other than that like... no point to this song being included on the album... it’s 2 minutes and it falls flat pretty early on.

love language: this was the one i saw most people agreeing was the best one/most hyped. i expected to be a ballad but it’s one of the more upbeat ones and honestly thank god. a chorus that actually has structure and goes somewhere? wild. good and creative lyrics? WILD. anyway the production is great and reintroduces that kinda 70s vibe from motive but in a refreshing way. really good tie in. third song added to the library. 

positions: i honestly didn’t even listen to this when it came out so i really had no idea what to expect. again the strings and orchestral pairs so well together... one of my favorite instrumentals on the whole album. i 100% see why this was the lead single and i agree with it completely. the most catchy chorus and it moves the song forward WHAT A CONCEPT. also very good placement on the tracklist because it was really refreshing. at this point it kinda started to drag on a little but this picked it right up. it also kinda threw me completely off balance because i was so familiar with the pattern of good verse weak chorus good verse weak chorus, but this is the opposite? weak verses but amazing chorus. forth song added to library.  also i am genuinely curious why it’s the album title? it doesnt really fit the theme of the album but then again one of my complaints is that it doesnt really have a theme to begin with so... 

obvious: the imagery i got when the music came in was like a dark 80′s lounge with dark wood furniture and i loved it lol. the same thing with positions, a surprising and refreshing combo of weak verse but good chorus which was nice. i can see it easily getting me stuck in my head, especially that hook. fifth song added to my library. 

pov: this is the other song off the album i heard everyone generally loved. i would say this has the best theme and story of the entire album. it has an interesting concept that isnt overly used and the whole song is pretty good decent verse and decent chorus. i love the end where she gets powerful and has more grit in her voice and we get more emotion out of her... wish she didnt wait until the last 30 seconds of the whole album to finally deliver with that but sure. sixth song to be added to the library. 

overall i was pretty surprised at how much i enjoyed it? i really expected not to the way everyone was talking about it. i think it is a good album with just some clear flaws, that could have been easily fixed if she didnt rush the album out so quickly. better lyrics and better judgement/deliberation of which songs deserve to be on the album and it would have been so solid. i would give it an overall rating of 6/10. 

here’s my current ranking:

[bobdylanrevisited]

Bringing It All Back Home

Released: 22 March 1965

Rating: 10/10

Thus, we have arrived at the three greatest albums of all time. Dylan has gone electric and dropped the protest songs, much to the dismay of his loyal folk fanbase; they would later show up in force to jeer and boo at the man they once revered as a their new messiah. Despite having the nerve to plug in his guitar for much of this album, the B-side is still acoustic, and this is a perfect collection of songs that would prove rock ‘n’ roll could also be poetic and meaningful. Just because he had a backing band and was singing differently, Dylan was still honing his writing skills and experimenting with narrative, structure, and also quite a lot of drugs. 

1) Subterranean Homesick Blues - This was my introduction to Bob at 13 years old. I remember seeing the iconic video, hearing the nasal voice, and being so confused by the words, but I was instantly fascinated and determined to discover more about this strange man. Fourteen years later and the song still has a wondrous effect on me, this folk/rock/rap is a perfect rant on youth and disillusionment with the establishment. Iconic lines like ‘20 years of school and then they put you on the day shift’ or ‘join the army if you fail’ are all time classics. This is a barnstorming opening track, which shows that the old Dylan is dead and the new Dylan is coming out swinging. 

2) She Belongs To Me - A much more mellow track, about a lover whose artistic, bohemian ambitions must be pandered to. Dylan’s singing is brilliant, and it’s a nice little song in between two of the album’s rockiest numbers. 

3) Maggie’s Farm - The farm in question is Silas McGee’s Farm in which Dylan played a civil rights protest show, and he’s making it very clear that he won’t be doing that again. A ‘fuck you and farewell’ song to the community he once led, this is a scathing attack on the folk scenes expectations of him and how they oppressed his creativity. Famously, he would play this at the Newport Folk Festival in the summer of 1965 and almost start a riot. However, this is another classic and has been regularly reworked and played live over the last 55 years. Whilst I’m sure Bob’s anger has subsided over that time, it proves just how perfectly this song captures feelings of angst and artistic freedom, something Bob had to deal with every time he shifted genres. 

4) Love Minus Zero/No Limit - Another gentle love song that dissects infatuation in a beautifully poetic way, another song that would resonate and be performed live for decades, another song with perfect singing from Bob. Though his voice is slightly higher/more nasal on the louder tracks, the singing throughout this electric period is my favourite of all the ‘Dylan voices’. I’m always confused when people say he can’t sing, I think no matter how much he changes, he always sounds like Bob Dylan, and you can’t ask for anything better than that. 

5) Outlaw Blues - Dylan is now an outlaw, on the run from his former peers and fans. This is another loud, energetic, bluesy rock song that proves Bob is changing his identity and is almost a villain like the legends of the Old West: ‘I might look like Robert Ford, but I feel just like a Jesse James’.

6) On The Road Again - A very surreal narration of bohemian 60s life, describing a nightmare family that Bob implores the daughter to move away from. Again, this could be interpreted as moving away from the folk scene, however it is more likely that this is just another absurdist and funny tale that Bob loved to write during this period.

7) Bob Dylan’s 115th Dream - In the same vein as the previous track, this is a long, absurd, surreal, confusing, hilarious, meandering, and just plain weird song that is essentially the story of the founding of America. It is by no means literal or historically accurate, but it seems to be taking swipes at the foundations of the country and capitalism as a whole. It’s a brilliant piece of work that again shows how far Bob has come with imagery and metaphor. Also, the false start on the track never fails to put a smile on my face.

8) Mr. Tambourine Man - Now we move to the acoustic side of the album, and what an opener this is. One of his most loved, most played, and most covered tracks, this is another one for the history books. Is Bob the Tambourine Man who is being begged to keep performing for the masses? Regardless, this epic poem is like experiencing a dream, with lucid imagery and psychedelic lyrics that make you feel as if you are tripping on LSD alongside Bob. I know I’ve said this about a lot of tracks, but it is the definition of a perfect song and I think it’s impossible to get bored of, unless you’re listening to The Byrd’s cover which a heaping pile of shit and I won’t hear otherwise.

9) Gates Of Eden - Much like ‘Chimes Of Freedom’, this is another biblical epic, this time focusing on identity and youth in the 60s. The words are snarled as Bob sings about innocence, sin, and conformance, and the songs feels more like a renaissance painting than a piece of music. It’s truly stunning, you almost sit in awe as you try to take it all in, realising that a 23 year old, 56 years ago, was more in tune with society and his generation than anyone before or since. 

10) It’s Alright Ma (I’m Only Bleeding) - There’s a chance I may repeat this claim, as my opinion is always changing, but gun to my head I would say this is the finest song Dylan ever wrote, and would even go so far to say that this is the finest song anyone has ever written. It’s not even a song really, it’s a poetic stream of consciousness that takes aim at capitalism, authority, and of course, his audience. I could honestly write a book about it, dissecting each line and phrase, as there is not a single wasted word or beat. I really can’t do it justice here, just go listen to it or one of the many live versions, it’s always mind blowing to comprehend how anyone can write a song that feels like your brain is whispering the truths of the universe. 

11) It’s All Over Now, Baby Blue - The closing song is, again, flawless and personally in my top 5 Dylan songs of all time (though you’ll learn my top 5 has about 30 songs in it at any one time). A morbid farewell to the folk scene, this is a beautiful song that captures the sadness of a relationship ending and, much like the rest of the album, it is filled with imagery that is both challenging and esoteric. This has also been consistently been played live since its release, and it’s a testament to how amazing the songs on this album are, as the majority of them have stood the test of time and been in Bob’s repertoire for over half a century. All in all, a perfect end to a perfect album. 

Verdict: I hope I’ve made it clear that this album is one of the best things ever made, not only in regards to music, it’s just one of the best things ever. Despite my love of hyperbole, I do think these are 11 songs which certainly changed my life and how I view music/art/culture, and I hope it can have a similar effect on whoever reads this. What’s crazy is, even with all the fawning above, I actually think his next album is even better, which seems impossible. Dylan was on a roll and the backlash from this album, and his live performances, was only going to propel his songwriting and historical importance to new heights. 

[stylesnews]

After the triumph of the solo debut, Harry Styles is back. With a tour and a very personal new album.  But how do you overcome fears and pressures? The former One Direction has made a discovery: always trying to make others happy is a trap. Last December, Fine Line, the second album by Harry Styles, was released after the sensational success of the album Harry Styles, solo debut of 2017. In April the world tour he begins a world tour, which will also touch Italy with two dates: May 15 in Turin and on the 16th in Bologna. Twenty-six years old, English, the singer has managed to build a solid career by starting on his own after the farewell to One Direction, a boy band active only six years (from 2010 to 2016) but already entered the history of pop. Harry Styles never gives interviews. Below is an exclusive for Vanity Fair:

After a very demanding tour for his solo debut, he took a well-deserved break. When did you hear that he was ready for the second album? «In fact, I went back to the studio early, perhaps already two weeks after the end of the tour, which motivated me a lot, I knew what kind of music I wanted to do and I felt I had to ride that feeling and start from there. So I decided to take that energy and start without asking myself many questions. "

Was it more difficult to work on the first album or to make your second job after the success of your debut? «The process that leads to the creation of an album is very long, you tend to exceed, you are continuously focused on yourself and your work and everything inevitably turns into a series of ups and downs. Thus, sometimes you feel that everything is going perfectly and at other times you are frustrated and unsure of what you are doing. I think one of the biggest advantages of this album is that it allowed me to think about what success had represented for me. During the making of the album I redefined the way I perceive success, comparing myself with friends. There was a phase in which I asked myself what kind of album I had to make; at one point I was happy to say "I have to do this now", and I remember telling Tyler (Johnson, the producer, ed) all the album ideas I wanted to do in the next five or ten years and he said: you have to just dedicate yourself to the album you want to do now, it's the only thing you can do. I was very impressed. Then, another friend with whom I was talking about what it meant to be successful told me that if you are happy nobody can tell you that you have failed. So I looked back to the moments when I was most satisfied with what I was doing and it was always the moments when I was happiest. So I decided to focus on this strategy: rather than trying to make others happy, always do what makes me happy, in order to be satisfied with the result. Letting go of all those constraints that had blocked me for a while, such as streaming data or numbers, was truly liberating. "

Lights Up gives the feeling of being a truly cathartic single, from the current sounds to the imagery of the lyrics. What made it the perfect single for our day? «Lights Up was the most anomalous song I ever made, from the way it was written to the recording phase: everything was written starting from vocal notes, Tyler sent me a track, there was a continuous exchange of notes vowels and finally I wrote the lyrics. Then we went to the studio together, we recorded it quickly enough, until the second day I said "we have to enter the choir", but it's something we usually do in the end. Anyway, we inserted it and completed the song, but this choice totally changed its structure ".

The term "light" often occurs in his songs, as do references to fruits. Is it an intentional choice? "In reality there is always a strong element of randomness, I have never explicitly decided to focus on the theme of fruit. There is a lot of fruit in my music, but I don't know why. At the beginning, when we wrote Kiwi, we called it that way thinking about changing the name later but then it seemed strange because we had always called it Kiwi, so we decided to leave it that way. And in the end there is a lot of fruit on this album, I wish I could say that I had foreseen and planned everything, but in reality it is not so ".

Many songs on this album dedicated to ending a relationship seem to become an inner monologue. Some of the toughest moments of songs like Cherry and To Be So Lonely are incredibly intense to listen to. Was it therapeutic to convey such raw inner reflections into your songs? «Writing has always been very therapeutic for me. When I sit down to create a song, I don't think about the fact that I'm exposing myself and I think this helps me open up, so if I compose a very personal text, I don't think about what people will say about it, because I write the song for myself. I think it's a really therapeutic process. It allows me to enclose certain moods in a three-minute song, to then overcome them and move forward. "

He turned his motto, "Treat People with Kindness" (be nice to others), into a song. Was this an idea you already had in mind when you started using this phrase on your first tour? "Treat People with Kindness was the last song made for the album; I wrote it at the end, even if from the first tour I thought of turning the motto into a song, but I had no idea how. At one point, while I was in the studio and we were working on this idea, I said to myself "is it too banal?", And Jeff (Bhasker, producer, ed) replied "why don't you just do it?". And the same thing happened with Kiwi, we joked about how fun it would be to write a song that said "I am having your baby, it's none of your business" (I'm expecting a baby from you, it's none of your business). Then came the rest of the song and the first time I sang it I didn't know whether to love it or hate it. I had no idea what it was, I had never done a song like that, so I felt a little uncomfortable; then I realized that it wasn't necessarily positive or negative that it seemed strange to me, in any case now I can say that I like it ».

The lyrics of many of his songs are decidedly intense: are you nervous about having to sing them live every night? "Actually, an interesting thing happens. With the songs you go through various moments: you start writing them and for a long time they are something of your own; then you start singing them for other people and you hear them differently, at the end the concerts come and it's as if you take them to a different level. I wouldn't say I'm nervous. Of course, some songs are sadder than others, but it would be a problem to have to sing them every night only if I hated them, instead I like them, so I'm honest, that's all. I am happy that those songs become like snapshots of certain moments; I don't live the sad songs in a negative way, I think rather that they are the positive result of more difficult moments ».

Last year he spent some time in Japan. Why Japan? Is there any unforgettable experience of this trip that you would like to share? "I was in Japan because I realized that I had never traveled alone and I wanted to spend some time in solitude; the time I spent there was very important. I had the opportunity to reflect for the first time on what had happened to me in the last seven years of life and I would say that my most intense memory is simply walking in the city. One evening I was walking back from a friend's house and while walking through the crowded streets of Japan I listened to Bill Evans, it was an incredible and special moment ».

What should we expect from your Love on Tour? "Looking back, it seems incredible to me that we managed to create a real show with the latest album. With the new one, everything will be more joyful, more fun, more free and I feel that many songs will be perfect for live concerts. I can't wait for it to start, it will be a crazy experience. "

[momentsinsong]

Moments In Song No. 027 - Hunter Hooligan

Music speaks to all of us, regardless of where we come from or what we’ve been through. Whether it be from 50 years ago, or today, music has the ability to liberate us from the mundanity of the world. Hunter has spent half their life learning about the special role music plays in our lives and used that understanding to propel their artistry forward. We talk to them about their deep dive into the history of music, the unconditional support of their Grandmother, and the importance of Pop.

Listen to Hunter’s playlist on Apple Music and Spotify. 

Words and photos by Julian.

________________________________________________________________

Julian: When I was listening to your playlist, I noticed that there were two very distinct halves to it. That first half is much more upbeat, dancy, techno almost, there’s some disco in there. Very much a four on the floor type of feel. And then that second half is very much more slowed down, and has that singer-songwriter/acoustic type of feel to it. Is that what you were going for when making your playlist?

Hunter: I love making playlists. I am that person who would make friends mix CDs and stuff like that. Every one would be so carefully curated. That’s why I was having such a hard time [Laughs]. Thinking about narrowing down my music taste into 10 songs, I was like, “Wow! This is big.” You know what I mean? I think there was a conscious effort to order songs a certain way. Even when I’m making my projects I am very conscious about the song placement, the tracklisting, I’m very very thoughtful and purposefully about it. I sent you one version of the playlist but I made like six versions that were totally different. It’s just because music is my life. I was trying to think of songs that were really important to me, songs that I loved my whole life, songs that are pretty new to me. I was just trying to find a balance of the songs that I like and also trying to make it make some semblance of sense. 

When you were making the different versions of your playlist, how do you know once you’ve made the final one? What was the deciding factor?

Even up until the night I sent it to you, there were like 15 songs on the playlist. I was like, “I can not believe I have to cut 5 of these songs!” I think every one of those songs is a doorway into my taste. Every single one of those songs is a good signifier of so many other songs that are similar to it that I like. 

So you’re saying like, this one acoustic Amy Whinehouse song is the entryway to a bunch of other singer-songwriter stuff you like. Or this Charli XCX is an entry way to more feel good poppy stuff you like. 

Yes, exactly. And so I think I kind of looked at it like a hallway with 10 doors and each door was to a room of infinite other amounts of music I love. I wanted to pick songs that were important to me, and songs that were special to me. Even the Charli XCX song which isn’t that old, and the FKA twigs song which also came out last year, they’re representative of so much more music I like, and what I like about music right now. 

Which is what?

What I really like about “Gone” is that it is so carefully crafted as a Pop song, as far as the production goes. And lyrically it has the structure of a Pop song, there’s verses, there’s a chorus. I love that it is a collaboration. I think collaboration is everything. What I love about that song in particular is that it’s so expected, production wise, as a Pop song but the lyrics are so bizarre. The chorus-- there’s something very impenetrable about the lyrics of the chorus. There’s something really so dissociative about the lyrics, but it’s still so catchy and so emotional. You feel it. Even though I have no idea what the song is talking about. I think there’s clues as to what they’re singing about, but I think it’s something you feel more. They almost sound to me like an A.I. wrote them. Like if you fed an A.I. a bunch of Pop songs and then it spit out a chorus to its own Pop song, that’s what it would sound like.

I always feel like Charli XCX has always straddled the line between, “I can sing the catchiest, poppiest hook you’ve ever heard” but on the flipside “I can take you down to some artsy, weirdo, off the wall type stuff.

And that’s what I love. I really love artists that straddle that line, for today. I love people who are versatile, who are brave, who are shapeshifters. People who are not afraid to be incredibly straight-forward and simple, but also thoughtful and crafted. I think it’s really cool.

I definitely agree with you on that. We’re definitely seeing a resurgence of female pop artists who fall into that lane. If you think about Lorde, or Billie Ellish, or Tinashe, they straddle that line. That’s what you like about the new songs, what about the old songs on your playlist? What are some of the songs on there that you’ve loved forever?

“I Feel Love” by Donna Summer, to me, is one of the best songs ever written. It’s one of the best dance records ever made. It’s brilliant. The production is incredible. The vocal is incredible. It all just hits you so right. To think that this song was produced in the 70’s is mind blowing. I listened to that song and I’m like, “This sounds futuristic now.” 

For me that song is a doorway into the music that surrounded me as a child. My parents had a really versatile taste in music and played a lot of stuff. My mom and I would do weekend Spring cleanings and she would load up the 6 CD stereo system and we would crank everything from Aretha Franklin, to Elton John, Aerosmith, Tupac, she loved everything. I think I inherited this excitement for music from her. 

She also loved 90’s dance music that was on the radio when I was little. She would go to club nights at The Depot and get mixes from DJs and play them in the car. Also when I was really young, my family is all in N.A., and at the time they would put on these dances as a way for people in recovery to go to a safe space that wasn’t a bar or rave where they might find alcohol or drugs and relapse, and enjoy the music. My family would take me, and I was like 7 or 8, and the music there was just… that the first time I heard “I Feel Love.” So much 90’s dance music that I love now was played at those dances.

How does you starting out at 7 and 8 going to these dance parties evolve into the taste of music you have now?

I started working in studios when I was 13, and that’s when I really decided that I was going to make music. 

When you say working, you mean in the actual studio?

Yeah early on I would bring in my songs, you know little things I would record. I would write with other people, I would ask to come and sit in on a session.

So this was a job you got or did you know someone in the studio?  

So I started taking voice lessons and through my voice teacher got connected to different producers and engineers. And in my mom’s previous life, she was married to the original owner of Hammerjacks, which is a legendary Baltimore nightclub, so she knew people from then who were musicians and who had their own studios and spaces like that. I kind of just really made it a point to be in those places. Around that time I also felt like I wanted to have an education in what American music had always been, and so I started really early on listening to the first records ever made, which were anthropological in nature. From there I became really in love with Blues. 

I wasn’t able to fit her on the playlist but she was there up until the very end, Bessie Smith. I mean this is someone who we’re talking about who was making music almost 100 years ago. I listened to her records and would sing them all the time. I feel like I learned so much about singing from her. She was so ahead of her time. From her ideas about her stage shows, to being a black queer woman, singing Blues in the segregated south, she was brilliant. She’s a forever artist to me. 

I had this idea of giving myself an education of what Pop music in America had been over time. Because Pop music is just whatever is popular. Through that I listened to Bessie Smith, Ma Rainey, Dinah Washington, Billie Holiday, and then from there Eartha Kitt and Aretha Franklin, Etta James, Janis Joplin, Tina Turner, and I just kept following the times. Through that I heard so much music I had never heard before. I felt like music had this endless possibility of being anything.  

And this was all on your own? You just decided to do this one day?

[Laughs] Yeah this is just what I did. I didn’t have a lot of friends. You know it’s the whole “queer youth” storyline. Outcast, freak, bullied, blah blah blah. I would spend a lot of time by myself and music was my friend. I wanted to know everything about it.

So you’re building your background knowledge with this research, gaining access to this studio, then decide to make your own music. What was that process like?

When I was really little, I would take songs off the radio and write new lyrics to them. So it would be the same melodies and all of that, but I would just write my own song. When my parents divorced, there was a lot of change and chaos in my family and just in my life, and that’s when I started writing my own original songs. That was when I was 13. Then I would take the original songs that I wrote to my voice teacher and she would help me put chords to them and create these songs. A lot of times it would be me singing this melody to her, and she would fiddle around with the piano a little bit and then we would come up with a chord progression we liked and record them on a cassette tape. Once I had a couple of songs there that I really, really liked, she suggested that I record them in a studio. She worked things out with my family and for my birthday they bought me studio time.

That’s like the best gift ever!

I know! It was this amazing, brilliant thing. It was my grandmother. My grandmother always supported my music and me singing. I had a job really young, around 13, working at a snack bar. But it wasn’t enough for studio time. And honestly she paid for most of the studio time when I was young. She was a domestic worker. She would scrub people’s toilets and then turn around and give me $150 for a day in the studio. And that was never a question. 

What do you mean it was never a question?

She was never, ever like, “I don’t know if I can do this. I don’t know if this is worth it.” Never. The sacrifice she made for that was never lost on me. I knew, even then, what that meant. To have someone who is working so hard, literally barely making enough to survive, support you. I don’t think I realized, that young, how poor my family was. I did know we weren’t wealthy by any means, so the fact that she would do that is amazing. I’m never not going to make this worth it, for her. If I were doing it for me, I would’ve walked away a long time ago. This industry is terrible. It’s full of people who will steal, people who will cut you out and leave you in the dust.  I’ve lost a lot of skin in this game. The reason I do this is for my grandmother, my family, my ancestors. 

My family is Native and has really been through it, for a long time. We have nothing to show for it. Every person in my family has experienced intense trauma, and I have as well. If this was all about “Look at me! I’m so talented,” if this is what it was about for me-- hell no. I would be a happy real estate agent at this point. It’s about making all of this sacrifice and trauma my family has been through mean something, and putting it into art. Maybe one day I’ll be on a Grammy stage, and maybe one day I’ll be dead in a ditch. I don’t know. But I do know that my life is for my community. People like me. People who can relate. At the end of the day that’s what’s important to me. 

Do you take the history of your family and the sacrifices they’ve made, the vulnerabilities and emotions shared from the music you enjoy, and good old fashioned pop sensibility and incorporate all of those into the music you’re making now?

Definitely. For me, Pop music is about a feeling. There’s no pretext. You don’t have to know the story, you don’t have to know the language, you don’t have to know anything about it before you hear it. But when you hear that Pop song, you feel it. And that is universal. That’s why we see this huge rise in K-Pop. There’s not a parallel rise in people being able to speak Korean. People don’t always know what K-Pop stars are singing about but they feel it. Pop music is a feeling, a communication that transcends language barriers, time barriers, space barriers. That’s why Pop is what I’m aiming for. I want to connect. I want people to feel like there’s space for them in the music. 

The music that I’m making now is coming from a place that is newer for me to create from. It’s authentic to what I’m feeling now and where I feel like so many people are at in the world. There’s a lot of pain. There’s a lot of exhaustion, anxiety, depression. I want to make music that makes people feel like they’re powerful. Like my new song “Metal Me.”  To me that song is about personal power. Those sounds, that production, it feels powerful. I want people to feel like they can conquer their demons and fight everything against them. If I can make somebody feel powerful with a song, that’s it. 

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[hlupdate]

After the triumph of the solo debut, Harry Styles is back. With a tour and a very personal new album. But how do you overcome fears and pressures? The former One Direction has made a discovery: always trying to make others happy is a trap

Last December, Fine Line, the second album by Harry Styles, was released after the sensational success of the album Harry Styles, solo debut of 2017. In April the world tour will begin, which will also touch Italy with two dates: May 15 in Turin and on the 16th in Bologna. Twenty-six years old, English, the singer has managed to build a solid career by starting on his own after the farewell to One Direction, a boy band active only six years (from 2010 to 2016) but already entered the history of pop. Harry Styles never gives interviews.

Below is an exclusive for Vanity Fair.

After a very demanding tour for his solo debut, he took a well-deserved break.

When did you hear that he was ready for the second album?

«In fact, I went back to the studio early, perhaps already two weeks after the end of the tour, which motivated me a lot, I knew what kind of music I wanted to do and I felt I had to ride that feeling and start from there. So I decided to take that energy and start without asking myself many questions. "

Was it more difficult to work on the first album or to make your second job after the success of your debut?

«The process that leads to the creation of an album is very long, you tend to exceed, you are continuously focused on yourself and your work and everything inevitably turns into a series of ups and downs. Thus, sometimes you feel that everything is going perfectly and at other times you are frustrated and unsure of what you are doing. I think one of the biggest advantages of this album is that it allowed me to think about what success had represented for me. During the making of the album I redefined the way I perceive success, comparing myself with friends. There was a phase in which I asked myself what kind of album I had to make; at one point I was happy to say "I have to do this now", and I remember telling Tyler (Johnson, the producer, ed) all the album ideas I wanted to do in the next five or ten years and he said: you have to just dedicate yourself to the album you want to do now, it's the only thing you can do. I was very impressed. Then, another friend with whom I was talking about what it meant to be successful told me that if you are happy nobody can tell you that you have failed. So I looked back to the moments when I was most satisfied with what I was doing and it was always the moments when I was happiest. So I decided to focus on this strategy: rather than trying to make others happy, always do what makes me happy, in order to be satisfied with the result. Letting go of all those constraints that had blocked me for a while, such as streaming data or numbers, was truly liberating. "

Lights Up gives the feeling of being a truly cathartic single, from the current sounds to the imagery of the lyrics. What made it the perfect single for our day?

«Lights Up was the most anomalous song I ever made, from the way it was written to the recording phase: everything was written starting from vocal notes, Tyler sent me a track, there was a continuous exchange of notes vowels and finally I wrote the lyrics. Then we went to the studio together, we recorded it quickly enough, until the second day I said "we have to enter the choir", but it's something we usually do in the end. Anyway, we inserted it and completed the song, but this choice totally changed its structure ".

The term "light" often occurs in his songs, as do references to fruits. Is it an intentional choice?

"In reality there is always a strong element of randomness, I have never explicitly decided to focus on the theme of fruit. There is a lot of fruit in my music, but I don't know why. At the beginning, when we wrote Kiwi, we called it that way thinking about changing the name later but then it seemed strange because we had always called it Kiwi, so we decided to leave it that way. And in the end there is a lot of fruit on this album, I wish I could say that I had foreseen and planned everything, but in reality it is not so ".

Many songs on this album dedicated to ending a relationship seem to become an inner monologue. Some of the hardest moments of songs like Cherry and To Be So Lonely are incredibly intense to listen to. Was it therapeutic to convey such raw inner reflections into your songs?

«Writing has always been very therapeutic for me. When I sit down to create a song, I don't think about the fact that I'm exposing myself and I think this helps me open up, so if I compose a very personal text I don't think what people will say about it, because I write the song for me . I think it's a really therapeutic process. It allows me to enclose certain moods in a three-minute song, to then overcome them and move forward. "

He transformed his motto, "Treat People with Kindness" (be nice to others), into a song. Was this an idea you already had in mind when you started using this phrase on your first tour?

"Treat People with Kindness was the last song made for the album; I wrote it at the end, even if from the first tour I thought of turning the motto into a song, but I had no idea how. At one point, while I was in the studio and we were working on this idea, I said to myself "is it too banal?", And Jeff (Bhasker, producer, ed) replied "why don't you just say it?". And the same thing happened with Kiwi, we joked about how fun it would be to write a song that said "I am having your baby, it's none of your business" (I'm expecting a baby from you, it's none of your business). Then came the rest of the song and the first time I sang it I didn't know whether to love it or hate it. I had no idea what it was, I had never done a song like that, so I felt a little uncomfortable; then I realized that it wasn't necessarily positive or negative that it seemed strange to me, in any case now I can say that I like it ».

The lyrics of many of his songs are decidedly intense: are you nervous about having to sing them live every night?

"Actually, an interesting thing happens. With the songs you go through various moments: you start writing them and for a long time they are something of your own; then you start singing them for other people and you hear them differently, at the end the concerts come and it's as if you take them to a different level. I wouldn't say I'm nervous. Of course, some songs are sadder than others, but it would be a problem to have to sing them every night only if I hated them, instead I like them, so I'm honest, that's all. I am happy that those songs become like snapshots of certain moments; I don't live the sad songs in a negative way, I think rather that they are the positive result of more difficult moments ».

Last year he spent some time in Japan. Why Japan? Is there any unforgettable experience of this trip that you would like to share?

"I was in Japan because I realized that I had never traveled alone and I wanted to spend some time in solitude; the time I spent there was very important. I had the opportunity to reflect for the first time on what had happened to me in the last seven years of life and I would say that my most intense memory is simply walking in the city. One evening I walked home from a friend's house and while walking through the crowded streets of Japan I listened to Bill Evans, it was an incredible and special moment ».

What should we expect from your Love on Tour?

"Looking back, it seems incredible to me that we managed to create a real show with the latest album. With the new one, everything will be more joyful, more fun, more free and I feel that many songs will be perfect for live concerts. I can't wait for it to start, it will be a crazy experience."

[vrgamertc]

John Prine was an Army veteran walking a U.S. Postal Service beat in Chicago and writing songs on the side when Kris Kristofferson heard him and helped spread the word about Prine’s gifts. Pretty soon, he resigned as a letter carrier; his supervisor snickered, “You’ll be back.” Nearly 50 years later, this January, he was given a lifetime achievement Grammy for his contributions to songwriting. The singing mailman almost always had the last laugh.

Prine, who died on Tuesday from complications of the coronavirus, was legitimately unique. He took familiar blues themes — my baby left me — but filled them with whimsy and kindness. He liked a saucy lyric, and wrote movingly, in character, of the quiet lives and loneliness of humdrum people. He seemed like a Zen sage and offered an uncynical live-and-let-live morality in his songs, writing in a colloquial voice that revealed a love of the way Americans speak. He showed how much humor you could put in a song and still be taken seriously. He had less in common with any other songwriter than he did with Mark Twain.

He grew up in Maywood, a western suburb of Chicago, and was reared by working-class parents from Kentucky, where he often spent summers with relatives and fell in love with country music and bluegrass. By 13, he was performing in rural jamborees. When he debuted in 1971, in his mid-20s, he sounded like an old man already, so years later, when he got old and went through two cancer treatments, he still sounded like himself. From his first to his last, he wrote songs that were tender, hilarious, and wise, without grandstanding any of these traits. Here are 15 of the best.

‘Angel From Montgomery’ (1971)

“Angel From Montgomery,” his best-known song, begins with a little declarative startle: “I am an old woman, named after my mother.” It’s an incisive and terrifying look at the dissatisfactions of a bad marriage and a woman’s sense of being economically trapped in her misery. Bonnie Raitt recorded it three years later and uncovered some of the song’s dormant melodies.

‘Your Flag Decal Won’t Get You Into Heaven Anymore’ (1971)

Prine’s self-titled 1971 debut album is a playlist all its own; it has more great songs than a lot of respected songwriters have in their entire careers. The moral stance of this sprightly folk-rock ditty is a response to what he saw as sham patriotism during the Nixon years, and it remains relevant: “Jesus don’t like killing/No matter what the reason’s for.” Prine, a former altar boy, stopped playing it live for a number of years, but when George W. Bush became president, Prine said, “I thought I’d bring it back.”

‘Hello in There’ (1971)

Some fans and critics are put off by this song and its slightly lesser companion, “Sam Stone,” which they see as performative displays of sensitivity toward the vulnerable, or what we now call virtue signaling. Yet somehow, we don’t ever criticize singers for signaling vices and meanness. Prine sings in the voice of an old married man with a dead son, who spends his days in silence and loneliness, and who at the end of the song, asks people to be kind to the elderly.

‘The Frying Pan’ (1972)

For his second album, “Diamonds in the Rough,” Prine assembled a small, mostly acoustic band and pursued a front-porch, Appalachian simplicity. Like a lot of his songs, this one takes a lighthearted view of domestic complications: A man comes home and discovers his wife has run off with a traveling salesman. He cries miserably, recounts what he loved about her (“I miss the way she used to yell at me/The way she used to cuss and moan”), and full of pride, comes to the wrong conclusion: Never leave your wife at home.

‘Please Don’t Bury Me’ (1973)

For people who love Prine’s music, there’s some small solace in listening to his songs about death, which have the same sense of mischief and acceptance as the ones about broken marriages. (Try “Mexican Home” or “He Was in Heaven Before He Died.”) The narrator is dead, and as angels explain to him how it happened, they also recap his last wish: to not be dropped into a cold grave, but to be put to practical use, as an organ donor: “I’d druther have ’em cut me up/And pass me all around.” A kind of recycling anthem from his terrific third album, “Sweet Revenge.”

‘You Never Can Tell’ (1975)

Almost like an apology, Prine concludes “Sweet Revenge,” a grieving, downhearted album, with an exuberant Chuck Berry cover, one great writer nodding to another. The Memphis R&B guitarist Steve Cropper produced the record and put together a crack horn section, which pushes ahead of some barrelhouse piano. Prine wasn’t a rocker, but he could rock.

‘That’s the Way the World Goes Round’ (1978)

Prine seemed to have an unlimited ability to expand and vary songwriting structures and perspectives. This track, which has been covered by Miranda Lambert and Norah Jones, has two verses: In the first, the narrator describes a drunk who “beats his old lady with a rubber hose,” and in the second, the narrator gets stuck in a frozen bathtub (it’s hard to explain) and imagines the worst until a sudden sun thaws him out. Both verses illustrate the refrain: that’s the way the world goes round. Even when circumstances are bad in Prine songs, he favors optimism and acceptance.

‘Iron Ore Betty’ (1978)

A lot of Prine songs celebrate physical pleasure: food, dancing and sex, which he gallantly prefers to call “making love.” The working-class singer in this soulful, up-tempo shuffle feels unreserved delight at having a girlfriend (“We receive our mail in the same mailbox/And we watch the same TV”), and wants us to know he and Betty aren’t just friends (“I got rug burns on my elbows/She’s got ’em on her knees”). OK guy, we get it.

‘Just Wanna Be With You’ (1980)

A stomping number from “Storm Windows” in the style of Chuck Berry, with the Rolling Stones sideman Wayne Perkins on guitar. Prine’s lyrics don’t distinguish between reality and absurdity — they don’t clash, they mix — and here’s one more way to say you’re happy and in love: “I don’t even care what kind of gum I chew.” And another: “Lonely won’t be lonesome when we get through.”

‘Let’s Talk Dirty in Hawaiian’ (1986)

Prine had a sideline in novelty songs, which give full voice to his comic absurdity, throwaways that are worth saving, including the 1973 semi-hit “Dear Abby,” and this now-problematic number from “German Afternoons” inspired by a paperback book called “Instant Hawaiian.” Prine and his co-writer Fred Koller began making up Hawaiian-sounding nonsense words full of sexual innuendo, and Lloyd Green added airport-Tiki-bar bar steel guitar for maximum faux authenticity. You can say Prine’s loving disposition makes the song OK, and you can also say it doesn’t.

‘All the Best’ (1991)

After five years away, Prine returned with “The Missing Years,” a Grammy-winning album produced by Howie Epstein, Tom Petty’s bass player. The singer in this gentle, masterly miniature claims to want good things for an ex-lover, but feelings aren’t simple: “I wish you don’t do like I do/And never fall in love with someone like you” twists the knife. Now recording for his own label, Oh Boy Records, Prine was about to hit a hot streak.

‘Lake Marie’ (1995)

Bob Dylan, who was a huge fan, called the haunted, mysterious “Lake Marie” his favorite Prine song, and who are we to disagree with Dylan on the topic of songwriting? Even though Epstein’s booming production draws too much attention to itself, “Lost Dogs + Mixed Blessings” is full of winners: the simple, loving ballad “Day is Done,” the rapid-fire doggerel of “We Are the Lonely” and the calm, ornery “Quit Hollerin’ at Me,” where Prine tells his wife that the neighbors “already think my name is ‘Where in the hell you been?’”

‘In Spite of Ourselves’ (1999)

Prine was diagnosed with cancer, and doctors removed a tumor from the right side of his neck, which took away his already-modest ability to project his voice. But incredibly, his stolid singing was now perfect for harmonies, and he cut a duets album called “In Spite of Ourselves” with female country and Americana singers. On its one original song, Prine and Iris DeMent trade backhanded compliments (“She thinks all my jokes are corny/Convict movies make her horny”) that read like a divorce complaint, but turn out to be only pillow talk.

‘Some Humans Ain’t Human’ (2005)

At seven minutes and three seconds, this track from “Fair and Square” is the longest song on any of his studio albums. A cloud of slide guitar keeps this soft waltz afloat and allows Prine to express his disapproval of, if not contempt for, so-called humans who lack empathy for others. There’s a couplet that is clearly about George W. Bush, and Prine noticed that some audience members were surprised by it. “I never tried to rub it in anybody’s face, but I thought it was pretty clear that I wasn’t a closet Republican,” he told the Houston Press.

‘When I Get to Heaven’ (2018)

In 2013, doctors removed the cancerous part of Prine’s left lung, which sidelined and weakened him. It’s hard now to listen to his final album, “The Tree of Forgiveness,” which was nominated for three Grammys, and not think that Prine heard the clock ticking louder. There’s so much tenderness in “Knockin’ on Your Screen Door,” about a man whose family left him with only an 8-track tape of George Jones, and in the elegiac, reassuring parental entreaty “Summer’s End.” In the last song, “When I Get to Heaven,” Prine describes his ideal afterlife: a rock band, a cushy hotel, a girl, a cocktail (“vodka and ginger ale”) and “a cigarette that’s nine miles long.” He removes his watch, and asks, “What are you gonna do with time after you’ve bought the farm?”

[samfenderfans]

Sam Fender - Spindle Magazine (February 2018)

Hey Sam, to start with, can you tell us a bit about how you got started in music?

I’m from a very musical family, my old man and my brother are incredible musicians, they are both multi-instrumentalists. There was always music in the house whether it was a record playing whilst my dad cooked or my brother smashing his drum kit about. They never pushed me in to it, but by the time I was 10 I was mad for it. There were always musicians coming in and out of our house from various different bands that my dad or brother were involved in, I used to ask all of them to teach me stuff. I was an annoying little fucker, completely obsessed. I hit 13 and that was when I knew. I was shit at football and bored at school, all I wanted to do was get back home and play my guitar.

So what music did you listen to growing up, has it inspired your music in any way?

I listened to a great mix of stuff, there was a lot of soul and jazz/rock playing around the house like Donny Hathaway, Aretha Franklin and Steely Dan, then on the other hand my brother (who was a teenager at the time) used to play a lot of 90’s stuff, he got me in to everything from Jeff Buckley to Oasis. My Godfather was also a massive inspiration to me musically, I’d go around to his house, put the kettle on and blast a bit of Joni Mitchell and The Smiths or some obscure artist that I’ve never heard before.

What was it like to write and release your first song?

An amazing experience, makes you feel overwhelmingly excited and vulnerable at the same time. But when it works it’s incredible. Watching something that you wrote and recorded between a shed and your mam’s flat with your best mate become a fully mixed and mastered piece of noise, that is what I live for.

You’re kicking off 2018 with a UK tour, what are you most looking forward to?

I’m looking forwards to seeing the fans. There’s nothing better than singing a song that you wrote hungover in your boxers to a crowd of kids shouting the words back at you.

Can you talk us through your recent track ‘Start Again’?

It’s about an alternative reality in which the world starts again and what would change and what would stay the same. It’s a negative portrayal of the human race’s violent tendencies and it’s innate hunger for power.

We love your video for ‘Play God’! What’s the story and inspiration behind it?

Rich Stewart directed it, for me it’s a beautiful video that challenges our conception of masculinity. That’s all I need to say I think.

How do you go about writing your songs?

Depends really, sometimes I write poetry then come up with a melody and chord structure, then other times I do all that in reverse. The best songs fall out the sky.

The messages in your songs are raw and politically charged – can you tell us about what messages you’re trying to convey?

I just write about what I see, people can take whatever they want from it, as long as they enjoy it then I’ve done my job. The messages are clear.

You were selected as one of BBC’s Sound of 2018 nominees, well done! How do you feel about being nominated?

I’m completely buzzing. It’s made us put our foot on the gas even more than before. I can already see the impact it has had on our following and it’s only January.

You’ve supported artists such as Catfish and The Bottlemen, Ben Howard and George Ezra – what was it like working with such big-names?

It was great, you learn a lot on tour. Especially when the artists you support have toured a lot. I cut my teeth as a live performer with all of these people, and I’m eternally grateful for all their support and advice.

Have you got any plans for a debut album?

I do. It will come.

What’s the best advice that anyone’s given you since you started your career in music?

I’ve had great advice from a number of people. Look after your voice, pack more underwear than needed, don’t eat loads of shit on tour, be kind to the people you meet on tour, be kind to the people you work with, believe in yourself and never give up. And don’t be a dick.

What is your dream collaboration? and why?

No idea, there are many. I would love to do something completely different to my own music, like working with Thundercat or maybe singing on a Vulfpeck track.

What are you most looking forward to that’s coming up this year?

My first headline tour in the UK. Seeing new countries and releasing new material.

Finally, what advice do you have for young creatives trying to get their message out to the world?

Be relentless with your work ethic. Sitting in your flat ripping bowls and talking about how you’re going to take over the world may be fun, but it’s never going to get you anywhere. You have to create and sacrifice, then you can get as fucked up as you want.

Don’t listen to the people who use the terms “real job” and “plan B”, they’re all dead inside.

Write with honesty and conviction. Mean what you say, if you don’t, no one else will believe you.

Don’t compare yourself to other artists, it draws focus away from your own material.

Don’t let the bastards grind you down. Take all reviews with a pinch of salt, even the really good ones. As long as you’re happy with what you’ve created, that’s all that matters.

Never give up.

Most importantly. Have fun.

[johnwarwickartist-blog]

Beginning’s,Lessons and Learning.

So, people, many find different ways to learn,

So why do we only teach one way?

Hope this help, maybe you do understand it, perhaps you will not.

They are So many Different ways to learn, So why do we teach

the same way?

In most places around the world, As you grow up, you will have to attend

a school of some sort.

It’s is essential to understand the Language of your region or country,

Mathematics and a bit of Science.

It will help you to know how to Communicate will others, working with

Money to buy, save and work out the bill, and science for everyday things.

The whole school structure to me is a graded system for the workforce.

In my case, Because I live in the United Kingdom, I’ll explain this system.

When I was growing up, I hardly read and barely did any write,

but somehow I got to Secondary school, and this was when it got hard for me, more reading and writing.

I didn’t understand why so many others find it easy and I struggled.

I remember an Incident in school when my English teacher gave the class an assignment to write a letter to a travel company and to make a complaint about the holiday you when on and it didn’t live up to what the travel ad said.

I remember working hard to do this letter, spending hours, trying to Prove to myself that I was not an Idiot and I could do this.

I handed in my work, thinking I had done so well, only to be pulled aside by my teacher to have a chat about my work, My teacher re-corrected my mistake and Some of the grammar.

The teacher ended up writing a new letter and told me to copy it.

But I tried to understand, and find out what I did wrong so it wouldn't happen again, I was told to not worry about it.

When I left school, I had taken nine subjects, and Only two of them

I felt happy about, C grade in art and D grade in mathematics.

The rest of my graded varied between E to G and one “U” Which came in English, as ungraded.

After school, about two weeks later, I find a job working in a shopping store

On the Produce department(fruit and veg).As the years have gone by, the type of posts I have had are general labour job, nothing special.

But still want to understand how to write, I spend so many hours writing stuff out, Copy things, trying to read a newspaper, And after many years I started to get better at it.

But at that time I was young, earn money and get in a girlfriend, was more important, after a 3 and half year relationship and the birth of my son.

My girlfriend and I split up, and I sank Into a Depression, it wasn’t to my late 20s, that went I Discovered that I might be dyslexic, I did understand what it meant, I just thought I was an idiot again.

Its why I was having so many problems, After a Conversation with my sister, she Explains to me, that she had suffered as well, told me different ways that she had learned herself.

But again at this time, I was still in a depressed state, and not paying attention.

But my breakthrough came when I find music.

I started to learn how to be a drummer, after six months I give it up because living in a flat, Neighbours would shortly complain.

Determined not to give up, I started playing the guitar in February 2004,

I began to teach myself through books or videos by just skimming the part that I like and within six months people where shock at the rate I was learning, a guitarist friend told me, that what I’ve learned in 6 months had taken Him three years.

I couldn't understand what was different and sometime it would upset me that I was doing better than someone else.

But in Oct 2004 I wrote my first song, it was called “Pussy whip blues” it was terrible, but I had made a song.

The joy of writing then lead to adventure for the next 15 years, in that 15 years, I would self study how people would write songs, like the Beatles, Bob Dylan, Bob Marley, Led Zeppelin,etc..... different styles, pop, rock, punk, soul, reggae, etc ..... it was all just fascinating to me.

Learning the structure of songs, breaking them down and rebuild them

and making new songs.

Chords because like colours, putting them together, so it sounded right

to me and words where the heartbeats to a song.

I would listen and listen to music every day for hours.

I don't care about money or fame, I was in love with music.

If you love something with your heart, just keep doing it.

But after about 13 years in, sometimes stop because of self-doubt and then restart again, I decided I would go to a songwriting camp.

I sign up for five days songwriting retreat at box hill, when I got there, we were in groups of 4.

It was my first time work in a group, so we started, but it didn’t turn out too well, two of the people in my group, won’t stop arguing there point, as I step back, and tried to understand and communicate between them, it starts to work, but I didn’t really get any input into the project.

It’s frustrated me how people will act, and show off.

After the second day, I contemplate if I should leave the writing camp and go home.

But I decided not to, and I’m happy I didn’t.

The next task was to get a title from another member, you get the title and write lyrics and then give the words to another member who would add music.

The title I was given was “friendly fire”, so instead of writing about crossfire, or war.

I wrote a song about a soldier who kills another soldier and was afraid to tell the parents of the murdered child, what they had done.

So I handed the lyrics to a girl who had to perform it, at the time, she was worried what chords to add and ask me what I would do, I told her it was an emotional song, somber and minor chords would work well.

On the night of the open mic, we had to perform, I had also added chords to an old gentlemen songs, it’s was the first time I had to play live, and I bomb it, making seven mistakes, coming off stage I fought like an idiot again.

But when she got up and sung "friendly fire", my world changed.

After the performance, People chapped, and then the question came.

Who wrote that?

Who lyrics are they?

Very emotional?

How did you come up with the idea?

In an instant people won’t leave me alone, they wanted to know what else I wrote and how I have done it.

It was hard to explain, but some way I had emotionally learn how to write my feeling in songs, through music and words.

I remembered in the past going through depression, I would sit for 2 hours making melodies, that would make me happy, I wanted to make songs.

I never want to do cover songs, and I wanted to write my own songs.

I learn everything with my mind by studying and conveyed it through my heart.

So understand, we all work; differently, It does matter if you have a condition or problems, don’t be your problem.

Use your heart as you guide and anything is possible.

But sometimes I think if at school they had a different approach to me and some of the other kids my life could be different.

what I want through my talent.

But you must look forward, becomes you only have now, the past has gone, your future is unmade.

I will explain later on about ways I've learned,

to read, write, poet, music and a love of art in many forms.

Sometimes I tell how I see the world, ways I was feeling

about depression and suicidal feeling.

because I'm 42 now, and I'm starting to do it.

[quarantineroulette]

Seditions of You: An Interview with Filmmaker Joe Wakeman

Joe Wakeman’s second feature, The Shoplifters (not to be confused with the Palme d’Or-winning film of the same title, but hopefully SEOs are none the wiser) is “a series of tableaux depicting the follies of a group of naïve Marxist would-be radicals” striving to be revolutionaries, only to discover that “what they really want is to be seen wearing berets.” 

Although he began work on it a decade ago, The Shoplifters carries some very timely themes about online activism, consumerism, and the shallowness of modern culture as a whole. With fairly little effort, its thought-provoking vignettes resist passive cultural consumption and its stylistic fluidity keeps it visually stimulating as well. Its 70 minutes also offer a lot of seamless humor, from a slightly slapstick dressing room shoplift to a smart, satirical "revolutionary bake sale” in Washington Square Park.

Ahead of The Shoplifters’ appearance at the NewFilmmakers New York Film Festival on February 6, I spoke with Joe via email about collaborations, Maoist propaganda and Communism as fashion statement, among other fun topics. 

1) What ignited your interest in Marxism & Maoism? 

I've been interested in Marxism since I was a teenager, probably about when I was 13 and first encountered the politically inclined punk of The Sex Pistols and The Clash, and Dead Kennedys -- I think it's somewhat common for young suburbans to go through a "Communist" phase. What I didn't realize at the time was that my interest in Marxism was really less about politics, which admittedly I knew precious little about (though I do lean rather strongly to the left) and more about the iconography of Communism: I would go around with sickle and hammer belt buckles and spell "Revolution" with a backwards “R.” That sort of corny thing.

 Later on, when I was 18 or so, I saw Jean Luc Godard's La Chinoise and his Groupe Dziga Vertov films with Jean-Pierre Gorin, all beautifully boring films depicting sexy French Maoists who do very little real revolutionary activity, despite their ability to quote at length from Marxist texts. These films made it apparent to me that what we think of in the US as "Marxist," where Communism has never been a reality, is as much a set of fashion and cultural signifiers as is the uniform of a typical "Goth" or "Emo Kid" -- berets, fists in the air, shabby clothes, shiny boots and cigarettes. 

2) I believe you've mentioned that you started working on -- or had least conceived of -- The Shoplifters about 10 years ago? In what ways has it changed in that time? 

Yes, at that time my friend Taylor Bruck (who plays Che Smith in the film) and I were also sometimes engaged in the "cool crime of shoplifting." There was a certain politically oriented moral code about it, where it was okay to shoplift from big corporations like Barnes & Noble but not right to steal from local businesses. But after seeing the Godard films we talked about how goofy it would be to take those politics further and call ourselves "revolutionaries,” which became the kernel of the absurd story for The Shoplifters that we wrote together.

The original script had a lot more characters and more action, arsons and assassinations and a lengthy courtroom finale at the end, where the Shoplifters are put on trial for sedition and theft. All that sounds exciting, but keep in mind, this was the script of a teenager. It's really rather cringe-worthy to read today. I threw the whole thing out when I reworked the film, though a couple scenes survive: the opening speech and the fitting-room sequence, where we pile on layers of stolen clothes, are both from the original version of the movie. We tried to shoot scenes from that script at that time, when I was 18 years old, with some borrowed equipment from the TV studio I was working for at the time, but we shot on damaged tapes and botched the sound recording. The material was practically unusable so, dejected, I hung up The Shoplifters for awhile and dedicated myself to working on other things and developing more before taking another crack at it. 

3) Do you see The Shoplifters as sharing any similarities with your first feature, They Read By Night? Although stylistically different, they both seem to lovingly mock certain countercultures. I also like that they both have "nested" films within films (the short in They Read by Night and the music video and "Post-Capitalist Potential for Mass Education in the Internet Age" sequence in The Shoplifters).

Definitely. Actually They Read By Night was an attempt, after the first failure of The Shoplifters, to write a similar film on a smaller scale. I swapped out the berets for leather jackets and the characters became greaser-rock ‘n’ roller juvenile delinquents instead of revolutionaries, but the point is essentially the same -- that their so-called rebellion is still a symptom of capitalism, buying into another kind of "outsider" fashion. 

As for the films-within-the-film element, I've always been attached to the idea that a movie does not have to tell one story, or focus on the story, or even just be one type of film. This is the other big element learned from the likes of Godard and other counterculture filmmakers, Dusan Makavejev, Warhol et al. -- that the "plot" of a film is not so important as the ideas which animate it, and to express those ideas more in the form of a lively discussion that, in a movie, can be shown with images rather than just spoken with words. Let's make our characters watch a film together and see how they react, or in The Shoplifters they educate themselves about Mao Zedong by reading about the Cultural Revolution on Wikipedia and from there its a free-flowing association of images culminating in some psuedo-Greek philosophy. It's the kind of methodology that people experimented with in the ‘60s and you see less often today, though occasionally you do see it, in Sion Sono's excellent recent Antiporno. Or, actually, the web-browser screen cap stuff in The Shoplifters is inspired by the 2014 teen horror film Unfriended. It's kind of a limitation of the cinema's potential when a movie just tells you a story one way, unless the story is really good, like Titanic or something. 

  4) Both films also have musical sequences (the fight scene in They Read By Night and "Style Revolutionaries" in The Shoplifters). Given your involvement in the music scene here in Brooklyn (Joe is in the band Toyzanne, who you should definitely check out, and directs music videos as well), would you ever consider doing a musical?

I love musicals! They're a popular illustration of that same idea -- the story stops, and somebody sings a song that comments on it, or sometimes the song continues the story, or presents a separate situation which is analogous to the story. I was raised on musicals and I think they can still be cutting-edge as a genre, even though many might regard them as old-fashioned. I composed a lot of the music for The Shoplifters, together with DP Torey Cates and help from musician friends from the Brooklyn scene: Brendan Winick (also in Toyzanne), Frank Rathbone and Jenna Nelson (of Sic Tic), Kate Mohanty. Holly Overton and Sannety (who also stars in the film) contributed their unique stylings for different sections of the film as well. When I showed my friend John Sansone an early cut of the film, he remarked that he didn't realize that it was a "musical" which surprised me because there's no singing, (except for the Smiths cover and "Style Revolutionary"). But when I considered the role music plays in the film, it's really not too different from a musical in structure and tone, which was something that made me feel very happy about it. I'd like to eventually do a proper musical with lots of songs that plays with the genre in a more direct way, but I also don't think I'm mature enough yet as a filmmaker to attempt that.

5) How did the various collaborations in the film (the score, and the sequences from Oliver David and Preston Spurlock) come about? 

Oliver David had made two music videos, one for my old band Bodega Bay and one for ONWE that had this style of a slow-motion fashion advertisement for the bands. I really enjoyed these videos and wanted Oliver to do something of a "remake" of the same style, this time advertising the revolutionary cadre in the film instead of a rock ‘n’ roll band, making the not-so-subtle commentary even less so. Likewise, when I was preparing to make the film I became close friends with Preston Spurlock, who makes these mind-blowing video collages of old commercials and such that are like wading through cultural toxic waste dumps to tap into some unconscious reflections that can't be put into words. I connected these in my head to stuff like Godard's Histoire(s) du cinema or the work of Adam Curtis (HyperNormalisation, The Century of the Self) and thought they would add a lot to the dialogue of images I was trying to present in the film.

 I think that it's unimportant for an artist to be the "sole author" of a film. It is more interesting when I think, “Oh, Sannety can do things with electronic music that I don't even understand,” or “Oliver and Preston work in video in a completely different style from me which can form a relationship with my style, so why not ask them to contribute and make it a real dialogue rather than a constructed one.” I think collaboration is key in filmmaking -- it keeps the spirit of montage living through and through the work, which if you consider Eisenstein and Vertov, is really "Revolutionary" filmmaking. 6) I liked the criticisms of Internet activism the film presented. In the ego-driven realm of social media, do you feel there is any way for a pure act of protest or activism to thrive or even exist? 

Yes I do think real activism can exist and can even be given a lot of strength through the Internet and social media -- those things have leveled the playing field and given voice to marginalized communities who hadn’t had that kind of visibility before the advent of these networks. Community organizer Candice Fortin, introduced to me through Gwynn Galitzer and Suffragette City Magazine, is another voice present in the movie, in keeping with the collaborations that exist throughout the film. She explains activism in the modern era and what people can do to start enacting change very eloquently midway through the movie, and i don't think I can say it better than the way she did in the film. She is constantly posting about progressive candidates, organizations and other concerns through social media to bring about political change on a grassroots scale. You can follow her @candicefortin for a start, but mainly pay attention! These opportunities to help are all around. 7) Do you have a favorite piece of Maoist propaganda?

Yes! This Maoist ballet from the cultural revolution, encouraging women to form feminist revolutionary cadres: The Red Detachment of Women. You can watch it on Youtube. Footage from it appears in Preston Spurlock's section of the film, I think it's beautiful and absurd, but I think weirdly Old Hollywood despite its anti-Western screed, like An American in Paris or something but cheaper looking. I really get a kick out of it. Perhaps when this one-day musical comes to fruition I’ll dole out some political ballet as a quiet (or more likely, loud) nod.

The Shoplifters is screening as a part of the NewFilmmakers New York Film Festival at Anthology Film Archives on Feb. 6, 2019. RSVP here.