#to be more in line with Perry's demo. they did it in one day‚ and that's the version that went on to sell millions of copies and top charts

[snowonthebeachmp3]

July 2016

Jul 3rd - Taylor's 4th of July festivities kick off at her Rhode Island house. Guests include Tom Hiddleston, Abigail Anderson, Matt Lucier, Claire Winter, Ryan Reynolds, Blake Lively, Karlie Kloss, Josh Kushner, Austin Swift, Ruby Rose, Harley Gusman, Halston Sage, Gigi Hadid, Cara Delevingne, Britany Maack, Ben LaManna, Martha Hunt, Jason McDonald, Uzo Aduba, Chioma Aduba, Jordan Masterson, Kesha, St Vincent, Ed Sheeran, Cherry Seaborn, Rachel Platten, Kennedy Rayé and the Haim sisters. (x) (x) (x) (x)

This is the day Tom wears the infamous 'I <3 TS' tank top while they're all at the beach. (x)

Jul 4th - The online mockery for the 'I <3 TS' shirt is quick to pour in. Daily Mail commenters are yet to shut up about it in 2021.

The party continues with a giant inflatable waterslide, body painting, karaoke, charades and fireworks. (x) And also Kesha and Haim getting tricked by Cara, Uzo and Ruby into thinking they heard scary noises in the night, and trying to call the police but not knowing their own location. (x) (x)

Jul 5th - The day after the party, when all the guests post their photos online.

Britany posts a photo of her & Ben, Blake & Ryan, and Taylor & Tom. (x) The internet has a field day with Ryan's unimpressed facial expression. (x) (Ryan later says that it's just his resting bitch face as he wasn't aware a photo was being taken. (x))

Taylor posts several photos to Instagram of her celebrating the 4th July with friends, but doesn't post any pictures with Tom. (x)

Claire Winter posts a bunch of Polaroids, including one of Taylor and Tom kissing. (x)

Abigail posts a photo to Instagram showing the banners Taylor put up to celebrate her engagement to Matt and the anniversaries of Cara & St Vincent (real name Annie Clark) and Ed & Cherry. (x)

Jul 6th - Taylor and Tom fly out of Rhode Island (x) and arrive at LAX that evening. (x) They then get on a plane to Australia.

Joe attends the Warner Music Group summer party in London. (x)

Rumours are swirling that Tom is no longer in consideration to be the next Bond, due to his relationship with Taylor. (x) (x) (x) (x) (x)

Jul 8th - Taylor and Tom are flying on a commercial Quantas flight so someone is able to take a pic of them on the plane. (x)

According to another passenger on the plane, Taylor plays Scrabble during the flight (presumably on her phone because nobody takes big physical board games on commercial flights and the creepshot of Hiddleswift on the plane suggests she wouldn't have had anywhere to put the board anyway). In hindsight, knowing how Taylor and Joe play lots of Scrabble together including online Scrabble aka Words With Friends, and how they stayed in touch largely via texting that summer, it’s very possible she was playing against Joe.

Taylor and Tom arrive in Sydney, where Tom is about to start filming for Thor: Ragnarok. (x) Aussie media, including daytime TV, goes nuts over Hiddleswift's arrival in the country. (x)

Flying from LA to Australia involves crossing the international dateline, so they would have left the US on the 6th July local time and arrived in Sydney approx 15 hours later on the 8th July local time.

Calvin's new song Olé, written for John Newman, is released. There is speculation that it's a Hiddleswift song, written from Tom's perspective and containing lyrics implying that Taylor cheated on Calvin with Tom. However, sources also told multiple outlets that the song was written and recorded months earlier, and its supposed links to Hiddleswift were just for publicity. (x) (x)

Jul 9th - Tom goes out for a run (x) and avoids answering questions about Taylor. (x)

Jul 10th - Taylor and Tom go out for dinner to Gemelli Italian restaurant in Broadbeach on Australia's Gold Coast. (x)

Jul 11th - Taylor is named as the highest earning celebrity on the 2016 Forbes Celebrity 100 list, with earnings of $170m mostly due to the 1989 World Tour. If she and Calvin had not split up, they would have been the top-earning celebrity couple. (x)

Jul 12th - Taylor visits Lady Cilento Children’s Hospital in South Brisbane. (x)

Jul 13th - Us Weekly makes a wild claim that Tom is planning to propose soon, and Taylor is going to say yes. The magazine cover also claims they're already talking about babies. (x)

TMZ claims that Taylor wrote TIWYCF, and that Calvin disrespecting Taylor following its release was the reason for their breakup. (x)

Taylor Swift really is the creative brains behind Calvin Harris' monster hit "This is What You Came For," and their relationship fell apart because he disrespected her when the song was released ... this according to sources connected with Taylor.

It's a fascinating story. We've learned an early fan rumor about the song is true, but to a deeper extent than anyone suspected. During their relationship, Taylor wrote the song, sat down at a piano and did a demo into her iPhone. She sent it to Calvin, who loved it. They both went into a studio and did a full demo with Taylor on vocals and Calvin doing the beat.

They both knew the song would be a hit, but Taylor wrote it for Calvin and both agreed it was a bad idea to let the world know they collaborated as a couple ... it would overshadow the song.

So Taylor, who kept the publishing rights, used the pseudonym Nils Sjoberg on the credits.

//

The problem in the relationship came the day the song was released. Calvin appeared on Ryan Seacrest's radio show and Ryan asked, "Will you do a collaboration with your girlfriend?" Calvin responded, "You know we haven't even spoken about it. I can't see it happening though."

We're told Taylor was hurt and felt Calvin took it too far.

It was a quick downward spiral from that point. One source called it "the breaking point in the relationship." The Met Gala was several days later, when Taylor danced with Tom Hiddleston.

Tree confirms to People magazine that Taylor did write TIWYCF under the pseudonym Nils Sjöberg. (x)

Calvin also confirms that Taylor wrote TIWYCF and goes on a Twitter rant:

Katy Perry tweets a gif of Hillary Clinton with a smug/'told you so' expression. (x) She also retweets an older tweet from May 2015 which reads, 'Time, the ultimate truth teller.' (x)

#TaylorSwiftIsOverParty trends on Twitter (x) (x) and Taylor's Instagram comments are spammed with the snake emoji. (x)

Following Calvin's tweets, TMZ publishes another article claiming he is downplaying Taylor's involvement in the song as she wrote the melody in addition to the lyrics. (x)

Jul 14th - Taylor goes out shopping in Gold Coast. (x)

Tom mentions Taylor in an interview with the Hollywood Reporter: (x)

You're in the middle of a cultural frenzy right now because you're dating Taylor Swift. How would you respond to people who claim that you're involved in some sort of publicity stunt?

(Laughs.) Well, um. How best to put this? That notion is — look, the truth is that Taylor Swift and I are together, and we're very happy. Thanks for asking. That's the truth. It's not a publicity stunt.

Martha says at a Pepsi/World Emoji Day event that Taylor and Tom are 'both happy and free together. It's amazing, I'm all about people being happy in love.' (x)

Kim talks about Taylor and the Famous controversy in a clip from an upcoming episode of Keeping Up With The Kardashians. (x)

“I never talk shit about anyone publicly, especially in interviews. But I was just like I had so had it,” Kim says in the clip to her sister Kourtney. “I wanted to defend him in it. She legitimately quote says, ‘As soon as I get on that Grammy red carpet I’m gonna tell all the press. Like I was in on it.’”

“And then she just didn’t like the reaction?” Kourtney says in response.

“Yeah, and you know just another way to play the victim,” Kim replies. She then brings the infamous VMAs moment from 2009 by saying, “It definitely got her a lot of attention the first time… I just don’t think he should be punished for it still to this day.”

Jul 17th - Kim posts an edited recording of Kanye and Taylor's phone call. In it, they discuss the 'I feel like me and Taylor might still have sex' line and Taylor says, 'Go with whatever line you think is better. It’s obviously very tongue in cheek either way. And I really appreciate you telling me about it. That’s really nice.' However, nowhere in the Snapchat video does Kanye consult her about the line, 'I made that bitch famous,' which is the line Taylor insisted she had never approved. (x) The other Kardashian sisters retweet and support Kim. (x)

(The full recording of the call, leaked in 2020, confirms that Kanye never told Taylor he was going to call her a bitch. It also shows her reminding him that she sold 7 million albums before he had even heard of her, in response to him suggesting the lyric, 'I made her famous.')

Kim takes to Twitter to call Taylor a snake.

Taylor posts a statement on Instagram responding to Kim's Snapchat video. (x)

Selena tweets, 'There are more important things to talk about… Why can’t people use their voice for something that fucking matters? This industry is so disappointing yet the most influential smh' (x)

Katy Perry tweets, '#RISE above it all' and links to her new single. People interpret it as a dig at Taylor. (x)

Martha Hunt tweets, 'It's pathetic how quick our culture is to sensationalize a fabricated story...' (x)

Jul 18th - #KimExposedTaylorParty spends the day trending at number one worldwide on Twitter. (x) To the point where 0.8% of all tweets posted in the entire week from the 18th-24th use the hashtag. (x) (Assuming that 1/7th of the week's total tweets were posted on each day, that means more than 1 in every 20 tweets on the 18th used the hashtag.) #TaylorSwiftIsOverParty also returns.

TMZ claims to have a copy of a letter from Taylor's lawyer, dating back to February, demanding that Kanye destroy the recording of their phone conversation and reminding him that it is a felony to secretly record a phone conversation in California. (x)

Taylor changes the name on her writing credits for TIWYCF on the BMI songwriters database. She is now listed as Taylor Swift instead of Nils Sjöberg. (x)

Camilla Belle, the subject of Taylor's 2010 song Better Than Revenge, posts a quote to Instagram which reads, 'No need for revenge. Just sit back & wait. Those who hurt you will eventually screw up themselves & if you’re lucky, God will let you watch.' (x)

Abigail tweets against Kim and Kanye, saying, 'May God forgive you & your wife for doing to others the very things you pray are NEVER done to your daughter.' She deletes the tweets after receiving death threats but leaves a tweet which reads, 'Guys…I will always stand by my best friend. There's no point in fighting over that.' (x)

Joseph Kahn (director of many of Taylor's music videos) defends Taylor on Twitter. (x)

The aunt of Dinah Jane from Fifth Harmony tweets, 'I always knew @/taylorswift13 was a SNAKE! Trying 2 break up my girls & use @/camilacabello97 as her protégé bitch bye you’ve been exposed!’ (x) The tweet is soon deleted and she claims her account was hacked. (x) (Camila quit the band at the end of 2016 and has since said that Taylor had nothing to do with her decision to leave.) (x)

Paula Erickson, Taylor’s former publicist from 2007 until 2014, likes a two-and-a-half-week-old tweet dragging Hiddleswift for being a badly executed bit of PR by Taylor and Tree. (x)

James Corden spoofs the recorded phone call on the Late Late Show. (x)

Calvin is rumoured to be dating Tinashe. (x)

Jul 20th - Todrick Hall defends Taylor, saying, 'She's one of the most genuine people I've ever met in my entire life.' (x)

Uzo Aduba says Taylor is 'a beautiful person and strong' and that she will overcome the Kimye drama. (x)

Paula likes another tweet shading Taylor and Tree. (x)

A graffiti artist creates a mural in Melbourne 'in loving memory of Taylor Swift' (misspelled as Smith). According to the artist, they are then contacted by Taylor's lawyers and threatened with legal action. (x)

Jul 21st - Taylor's Wikipedia page is vandalised with insults. (x)

Taylor and Tom fly back from Australia into a private airport in LA, and are seen out and about. (x) (x)

Jul 22nd - Fergie, who had Kim appear in her M.I.L.F. $ music video, says she thinks the Kimye-Taylor feud was planned and 'they’ll probably all come together at the MTV Awards or something.' (x)

Taylor goes to the gym in LA. It is the first time she has appeared in public since Kim posted the edited video, and her phone screen is now shattered. (x)

She also returns to Instagram to wish Selena a happy birthday. (x)

Jul 23rd - Taylor goes to the gym in LA. (x)

Tom is at Comic Con in San Diego. (x)

Calvin lip-syncs to Kanye's song That Part in a video posted on his Snapchat. (x) He also attends J-Lo's birthday party and is photographed with Kim. Apparently they have a friendly chat. (x) A source claims to E!, 'When Kim walked in Calvin saw her and stood up. He was clearly excited to see her and said 'hi' to Kim backstage.' (x)

Jul 24th - Taylor blocks the snake emoji from her Instagram comments section using a new Instagram feature. (x)

Tom is seen at the Four Seasons Hotel in Beverly Hills with members of Taylor's security team. (x)

Jul 26th - Tom flies back to LA from NYC, where he has just spent a couple of days. On the same day, Taylor's plane arrives back in LA from Nashville, where she has spent a couple of days. (x)

VMA nominations are announced. Taylor is not nominated in any category, despite Out Of The Woods and Wildest Dreams being eligible, leading some people to think she has been snubbed. Gossip Cop, an outlet widely used by celebrity publicists to quietly squash rumours, says that Taylor did not submit any videos for consideration this year. (x)

Jul 27th - Taylor goes to the gym in LA. (x)

John Newman, singer of Calvin's song Olé, jokes, 'Supposedly we had a holiday where he was movin’ on from his ex-missus,' referring to the trip to Mexico to film the music video, which involved girls and a yacht. He also says he doesn't think it's his place to say what inspired Calvin to write the song. (x)

Taylor and Tom go for dinner at Hillstone restaurant in Santa Monica. One source claims they 'seemed to really be enjoying each others’ company.' (x) It is the last time they are papped together.

Kanye makes a surprise appearance at Drake's concert in Chicago where he responds to Kim's Snapchat video for the first time, saying, 'All I gotta say is, I am so glad my wife has Snapchat. Because now y’all can know the truth. And can’t nobody talk shit about ‘Ye no more.' (x)

Cara appears on James Corden's show and talks about how she, Uzo and Ruby pranked Kesha and Haim at Taylor's 4th of July party. She mentions consulting Taylor and Tom first so that security knew what they were up to. She also says that Taylor and Tom got woken up at one point by all the noise they were making, and came upstairs together to find Cara and Uzo still making ghost noises. (x)

Jul 28th - Taylor goes to the gym in LA. (x)

Jul 29th - Sources close to Calvin deny rumours that he is planning to collaborate on music with Kanye. (x)

Abigail likes E! News' Instagram photo of Tom and Taylor going out for dinner on the 27th, which has a gushing caption about them. (x)

Jul 31st - Taylor is seen entering her gym in LA through the back door. (x)

A fan sees Tom and Taylor at The Church Key restaurant in LA. (x) The outing is not papped.

Intro // February // March // April // May // June // July // August // September // October // November

[queer-disabled-activist]

Masterlist sex mentions/references in Journey's/Steve Perry and Neal Schon's songs

This is something I've been thinking about doing for a while now, and now I've finally did it! Journey songs comes on shuffle as they do and I discovered a lot of songs that refrenced sex somehow and I thought to myself "how many of these do they have??" because it just felt like they kept coming.

This list will focus on Steve Perry's time with the band from Infinity to Trial By Fire, his solo work and Neal Schon's first solo album. You will notice that Frontiers isn't on this list, well that is because there's no sex references on Frontiers whatsoever. The list will go in cronologial order and I will mention some key lyrics to why these songs are naughty. Steve Perry will get hoe points for the songs he has written all by himself without input. As you will notice "Departure" is the sluttiest album of them all. Also here’s a playlist of all the songs available on spotify (X) For the songs that aren’t available on spotify I’ve added a youtube link in the title. Hope you'll enjoy!

Infinity

- “Feeling That Way” - This is kinda semi, but it still goes. Key lyrics:

“A new road's waiting

You touched my life, whoa

Soft and warm on a summer's night

You're the only one, I told you

The only one I love

The lovely one (lovely one)

I'm thinking of”

- "Anytime" This is also kinda semi, but this list will get naugthier as we go along. Key lyrics:

“Ooh, ooh anytime that you want me Ooh, ooh anytime that you want me Ooh, ooh anytime that you want me to Ooh, ooh anytime that you need me"

- "La Do Da" - Key lyrics

"Whey you touch me sweet so fine I feel it, I feel it When your body's close to mine"

Evolution

- "Lovin' Touchin' Squeezin'" Steve Perry wrote this alone so he's getting his 1st hoe point. This is probably the most obvious track you can think of when it comes to sex references. Key lyrics:

“When I'm alone all by myself You're out with someone else Lovin', touchin', squeezin' each other"

- "When You're Alone (It ain't easy) This song mostly hint at teasing, but teasing is also somewhat of a sex reference. - Key lyrics:

“When you're alone it ain't easy, You're like a dog that roams. Ain't got no girl to tease me, Ain't got nobody home."

- "Lovin' You is Easy" Key lyrics:

"Come on girl, give me that good lovin', oh baby Come on girl, keep the motor hummin, oh, woh, baby".

- "Just The Same Way" Key lyrics:

“Oh, no, you should be holdin' on to him girl. Oh, yeah just like, just like you want to do. Oh, no, just love and squeeze him girl. Oh, yeah just love and squeeze him yeah."

Departure

- "Any Way You Want It" - This is also kind of an obvious one, it's basically in the title. Key lyrics:

"Ooh, all night, all night Oh, every night So hold tight, hold tight Ooh baby, hold tight"

- "Walks Like A Lady" - Steve Perry wrote this song all by himself and is now up to his 2nd hoe points. Key lyrics:

“She moves like a lady When I'm in her arms She loves like a lady Lovin' all night long"

- "Where Were You" - This is the most lyrical graphic one of some sorts and honestly the theme makes me a bit uncomfortable. It's describing the girl he's dating as a hoe and that if she was about to leave him he can just hook up with her sister anyway. The whole song is basically a key lyric, but I'll go with the second verse. Key lyric:

"I know where, baby You been running around loose on the side Cause I know where, little lady You been running around with something to hide I don't mind, darling, if you're feeling fancy and free, yeah I don't mind, little baby Because your sister's looking real good to me"

- "Line Of Fire" - This is just a semi sexual reference, very mild, but I decided to keep it in. Key lyric:

“He said, "Now Suzi, don't you lie. Did Stevie, did he catch you with another guy?""

- "Stay Awhile" Steve Perry gets a hope point for this one, now he has 3. Key lyric:

"I'd go anywhere to touch you. I'd do anything you want me to,"

- "Homemade Love" - This song is a song full of sexual references packed into cooking. This is one of the few songs were Smitty/Steve and Neal all has writing credits, Smitty is not really known for his writing credits, so that is cool. Key lyrics:

"I need a jelly roll sweetie. Now, spread it oh spread it on me, babe. Feels so good, on the top."

Captured

- "Dixie Highway" - This is also a song filled with sexual references that they've packed in to be about a highway. A fun fact, this is the second song were Steve Perry has namedropped himself, the first is "Line Of Fire". Stevie is obviously him. Key Lyrics:

“I want to hold on you, come with you, love with you all the night"

"Escape"

From Jon Cain's entering the sex refrences instantly went down, on Escape there is only one.

- "Stone In Love" - Key lyrics:

"She pulled me down, ooh, and in clover We'd go around, yeah In the heat with a blue jean girl"

"Raised On Radio"

- "Positive Touch" - Key lyrics:

"She (she's) has got the positive touch (touch) She's bringing love back to me, yeah, back to me. I said-- She, (she's) to me means so much (much) She's saving it all for me, yeah"

- "Suzanne" - This is a semi reference, but since the list really dries up bc of Jon Cain I left it in anyway. Key lyrics:

"You're making love on the silver screen I want you more than you will ever know Temptation...Infatuation"

"Trial By Fire"

- "Baby I'm Leaving You" - This is very, very semi. Key lyric:

“Tell me girl it ain't true The rumors that I hear about you About all the boys you knew before Who come and go right out your door"

- "I Can See It In Your Eyes" - The only song where Journey has mentioned the word sexy ever. Key lyric:

“No you..Make me mad...The way you cat around With your lips, your legs And all your sexy ways Do you got another lover now"

"Street Talk" - Steve Perry

"I Believe" - key lyric

"You want it too - Oh you want it You'll know the way - Know the way."

"Go Away" - a hoe reference. Key lyrics:

"I'm cruisin' many So are you That's the way we both should do"

"Strung Out" - I find this song uncomfortable. I have mentioned that Steve Perry has a lot of solo songs where he refrences women as something that should belong to him, I don't like it at all. This is a semi sex reference packed in in lovin'. Key lyrics:

"They're sayin' that he's never been good to you And he's always hurt and let you down, If what you need is good lovin', I'll be around"

"Harmony" - Steve Perry wrote this all on his one and is now up to 4 hoe points. This is very semi. Key lyric: "Ooh yeah special kind of love Ooh yeah la la la la"

- “My My My” - This is a bonus track on Street Talk and isn’t available on streaming services, so I simply forgot it. This is a demo from Steve’s Alien Project days and it’s yes you probably guessed it; it’s a sex song. Key lyrics:

“M-m-m-m, my, my yeah

M-m-m-m, my, my yeah

I've got somethin' for you, yeah

You've got somethin' for me, oh

Let's put 'em together, oh yeah, oh

Ooh, I want you to squeeze me

Come on and hold me

Oh, baby, love me!

M-m-m-m, my, my yeah

M-m-m-m, my, my yeah”

- “Makes No Difference” Another bonus track from Street Talk that isn’t available on streaming services. This is another demo from his Alien Project days and it’s yet another sex song of course. This man here he is very naughty indeed. Key lyrics:

“Theres a sweep right to the bone

And I love to feel you baby

I I I get excited, oo to be with you

C'mon baby, whoaa oo oh oh oh”

"For The Love Of Strange Medicine" - Steve Perry

Before going in to this I thought that FTLOSM would be an album full of sexual refrences because it has a lot of sexy melodies, and well that one song you know, but as it turns out it doesn't have a lot. It's like Steve Perry decided to put all the sexual references in one single song. There are som other semi ones though.

- "Donna Please" - Another song where he sings about women that should belong to him, no. Key lyric: "Wanting you Touching you" and "If he wants you tonight Will you tell him no"

"Listen To Your Heart" - This is also a bit semi, but it needs to be here. Key lyric: "I was lovin' you baby You were lovin' me Every word I said Every word is true I was on the inside But he was lovin' you" and "You felt so good"

- "Can't Stop" - The song we all knew would be here. This entire song is a sex song and it's no going around it. In all honesty the entire song is a key lyric, but lets go with this part:

"(Can't stop) Your magical potion (Can't stop) The feel of your ocean (Whoa, whoa) Yes, I'm in shadows Talk real nice (nice) You know, just a little bit of that, uh Sugar and spice Some cutchie-coo, ooh"

"Greatest Hits + 5 Unreleased" - Steve Perry

- "Against The Wall" -Steve Perry is in a relationship, but he really wants to cheat like the hoe he is. Key lyric: (updated)

“Believe me I want you, I'd like to

More than I show

But I belong to somebody else, baby, please

“Walk out that door, yeah, oh

Before it's too late, listen

In the middle of your touch

In the middle where your heat starts rising

Oh, girl, I want you so bad”

- Once In A Lifetime, Girl" - This is also somewhat of a semi reference. Key lyric: "Baby, so come on Let's do it again More than a lover You're more than a friend"

"Traces" - Steve Perry

"No Erasin'" He wrote this himself and is now up to 5 hoe points. Maybe this is a surprising choice, but I found something here. Key lyrics:

“You laughed with me and sheltered me and Turned me on"

"Call On Me" - very semi, but it still goes. 6 hoe points. Key lyric: "If you want loving And you're alone Stay, you no lonely Pick up the phone

- "Could We Be Something Again" - 7 hoe points, that is Steve Perry's score for songs with sexual references he has written alone. Key lyric: "Oh, do you wanna, do you wanna? Yah-yah Do you want a little? Yah-yah, yah-yah Do you wanna love again, baby?"

- "Late Nite" - Neal Schon

- "Rain's Comin' Down" When you listen to this song it is very obvious what it is about. Key lyric: "When the rain's comin' down, I wanna make love When the rain's comin' down, gonna make you feel good now"

- "Softly" This is mostly a pure love song, but we need some pure love as well and it is very sweet, I adore this song. Key lyric: "When I hold you in my arms (Softly) When I hear you call my name (Softly) The tears fall, the tears fall like gentle rain (Softly) Softly in the morning (Softly) You touch me and I feel so right"

[thekillerssluts]

We’ve Got A File On You: Win Butler

In a year when a lot of our plans have been on hold, Win Butler has been busy. In April, the Arcade Fire ringleader let us know that the band had been working on music shortly before lockdown, and then he let us hear some of it. Last week, on the night of the election, the band debuted a new song called “Generation A.” Apparently, Butler was one of the people who found quarantine more inspiring than suffocating. Just a couple weeks ago, he amended his previous hints with the update that he’s written “two or three” Arcade Fire albums thanks to having to stay still all year long.

It seems like there’ll be a whole lot of new Arcade Fire goings-on to parse sometime on the horizon, but that isn’t the reason Butler and I got on the phone one recent October afternoon. Butler’s not quite ready to talk about forthcoming music yet, aside from saying this era of writing gives him flashbacks to that which preceded The Suburbs and promising “The new shit is about some of the best shit we’ve ever done” as we say goodbye.

In the meantime, there have been some milestones this year: The Suburbs turned 10; Butler turned 40. There is, of course, a whole lot of rich Arcade Fire history between their early ’00s origins and now. There are too many high-profile collabs to dig through, too many pop culture crossovers to cover, in just one conversation. But before Arcade Fire’s next chapter begins, while we both had a moment of quiet at home in the year 2020, Butler and I took some time to dig back through highlights and surprises from across his career.

Appearing In Bill & Ted Face The Music (2020)

How did this happen?

WIN BUTLER: They were filming in New Orleans. I’m kind of the exact age where Bill & Ted really has a soft spot in my worldview. [Laughs] That was just like, yeah, of course I want to be in the Future Council. That’s the part I was born to play. No, it’s funny, it was just one of these random things that come through the email. Usually, it’s, “Nope, nope, nope, nope.” But this was, “Tell me when, tell me where, I’ll be there.” It was on soundstages. When we were filming it, Tommy Lee from Mötley Crüe was back there, and he sort of disappeared at some point. I got to bring my son, who’s six. He was hanging out and we were talking to Keanu about Canada and punk bands back in the day. It was a pretty sweet hang. It was a bright spot in 2020, let me put it that way.

You say you get these emails — is that random stuff they want Arcade Fire to do, or there’ve been other cameos you turned down?

BUTLER: Oh, no, it’s mostly random licensing or stuff that goes to the junk box. But every once in a while, it’s like, “Hey, that sounds like a nice way to spend the day.” I started out in film. I went to Sarah Lawrence College in New York around 2000. I had really wanted to go to film school, and I could never get in. [Laughs] Initially, the song “The Suburbs” was an idea I had for a film and it seemed easier to make a song than a film.

The Suburbs (2010)

That was a convenient segue. The Suburbs just turned 10. I was wondering if you have gone back and revisited it much amidst that anniversary.

BUTLER: The whole experience of Funeral was such a rollercoaster. We were on the road so long. We didn’t have much of a break going into the second record. For The Suburbs, Régine and I — I don’t think we saw anyone for a year straight before we even started demoing or anything for that record.

It was a time in my life… I don’t know, I was in my late twenties, and there were all these details of my childhood in Houston. You know, I moved to Canada when I was 19. [Houston] almost felt like this other life I had. I would close my eyes and imagine riding my bike through town and trying to find the edges of my memory. There was kind of all this emotion that came up through that, and I wanted to capture it. It’s funny, as a songwriter, most of the time I feel like my mind is living in the near future. You’re listening for these little signals in the air. This was almost inhabiting the emotional space of these memories but thinking about it as the future.

When you say it like that, I’m curious if the album feels different to you now that you’re a father yourself and another 10 years down the line. Like another layer to that refracted youth, sort of?

BUTLER: Totally. In a way, I feel like the last year has been a parallel to that year before The Suburbs. Then I was kind of a hermit by choice, and this has more been the world conspiring to make me a hermit, but it has been a really introspective. In a sense, the material that we’ve been working on feels the same way, this hybrid of your emotional landscape and the future.

It’s almost seasonal, like a trade wind that blows in once in a while. I remember we played with Neil Young when he was still doing the Bridge School Benefit and hearing him sing “Old Man” as an old man, almost like he wrote the song when he was 22 to sing when he was 80. I think there’s an element on that Suburbs record that’s like that as well.

Winning The Grammy For Album Of The Year (2011)

Obviously that was a huge turning point for Arcade Fire because you won the Grammy the following year. As a suburban indie fan at the time, I had no real grasp on how big certain bands were. From where I was, it was pretty trippy that you guys won that.

BUTLER: I mean, tell me about it. It was definitely pretty trippy.

There are very, very early moments of you guys getting linked up with some iconic artists. Arcade Fire got plenty of respect from the beginning. But at the same time, the Grammys is something different. That’s a moment of mainstream insurgency. Ten years on, you’re one of the big indie bands of your generation, but also one of the only rock bands to get to that level in recent times.

BUTLER: I don’t know it was the best record that year, but it was definitely the best record nominated that year. I mean, we were up against a Lady Gaga remix record and like, Katy Perry. We weren’t up against a great Eminem record, we were up against a not-that-great Eminem record. In a certain sense, I was like, “Well, I think we should win.” [Laughs] I think we had the best record.

I remember in high school Radiohead and Björk were the two [new artists I loved]. I bought The Bends the day it came out, I bought Homogenic the day it came out. And then everything else I listened to was artists that had broken up 20 years earlier. I remember watching the Grammys the year OK Computer was nominated and it didn’t win, and I was just like, “Oh, that thing must not mean anything then.” I remember Dylan won, and it’s a really great Dylan record, but objectively OK Computer was the best record. So if that didn’t win, then what the hell does that thing mean? After that, I didn’t think about the Grammys that much. It wasn’t on my list of my dreams of my career and what I could accomplish and what I wanted to do.

For me, I was looking more at a band like the Cure or New Order, these bands that were really just artistic entities but you would hear them at a pharmacy once in a while. Like, I’d hear “Bizarre Love Triangle” come on in the pharmacy in Houston and just be like, “Is this from outer space? What the fuck is this?” My dreams for our band was to do for other people what those bands did for me, which was just throw me a fucking lifeline. Because I was just like, “What is this world, and where are my people, and how can I feel OK existing?” My grandfather played in big bands and played with Louis Armstrong, and he bought me a guitar when I was 15. I held on to that thing — if I didn’t have that I don’t think I would’ve made it out of high school. It literally saved my life. I don’t think I could exist without that.

For me, the Grammy thing was strangely moving. Even up until the moment we won, I just felt like an interloper. Even when we won, people looked at us like aliens. Like, “Who? What?” You know, I’m a competitive person. It was really exciting. Cool, awesome, the universe makes sense for one second. It’s interesting, I didn’t expect it to mean anything until we won, and then it meant something.

David Bowie (2005, 2013, Throughout)

I alluded to this earlier but: The Grammys were like an industry stamp of approval. From the beginning, however, you guys were embraced by a lot of elder artists — particularly artists who were influences on the band. One I wanted to talk about was David Bowie. He was a very early supporter; you performed together in 2005, which turned into a live EP. Then he shows up on “Reflektor” in 2013. Somewhere around 2015, you talked about how you’d come to regard him as this professor-type character in your life. He came to your first New York show, right?

BUTLER: Our first headlining show, when we played at the Bowery, Bowie and David Byrne came to that show.

Wow, no pressure huh.

BUTLER: It sort of set the table. Like, “Well, I guess this is how it’s going to be right out of the gate.” [Laughs] It’s funny, I have a photo of David in my studio that I look at when I’m working sometimes. It’s just him in a dressing room with one of those kind of Hollywood mirrors behind him. He really… I don’t know, he felt some sort of spiritual connection with us. It wasn’t like he wanted anything from us. I just think he wanted to say, “Hey guys, you’re going on the right path, keep going.”

I was emailing him over all those years. I don’t know if you have anyone close to you that’s died and you go back and read those emails, it’s really these strange digital fragments of someone you care about. After he sang on “Reflektor,” Régine and I bought him a painting in Haiti as a thank you gift. We were supposed to mail it to him and we got busy and forgot about it, and in the interim he passed. I knew he wasn’t well, but I didn’t know he was dying. Maybe a couple months later I remembered the painting and I dug it out and it was a painting of a black star. A voodoo painting of a black star with rays coming out of it.

I didn’t know anything about his record being Blackstar or anything like that. Now it’s on the wall of my bedroom. Shit like that sometimes happens in my life. I take it for what it is. I don’t know exactly what that means and I just feel grateful… I don’t know man. Even just how inspiring, what he put into his art even in death. He’s someone I think about at least on a weekly basis.

Backing Up Mick Jagger On SNL (2012), Playing With The Rolling Stones (2013)

Obviously that was an ongoing relationship, and you’ve worked with David Byrne too, and you referenced playing with Neil Young. Still: Being onstage with the Rolling Stones seems particularly daunting.

BUTLER: We were Mick’s backing band on SNL. SNL is maybe one of my favorite American institutions. I don’t know if it’s the Canadian thing since Lorne [Michaels] is Canadian. The first time we did it, it was just like, “This dude is my friend.” I don’t know if Lorne’s kids like Arcade Fire or something. But I was in New York randomly and he was like, “Mick’s doing a thing,” and I said, “We do a pretty amazing cover of ‘The Last Time,’” and he said “Come on down, let’s do it.” Then we’re Mick’s backing band. I don’t know, pretty fucking cool.

What is Mick Jagger like to work with?

BUTLER: Mick is like: As soon as the light goes on, he’s a different person. When he turns it on, it’s like this muscle memory — like if you were with the greatest ballet dancer ever, and you say go and this energy comes out of him that is so practiced. It’s someone who’s an absolute master, after practicing something for decades and decades and decades. That was pretty amazing to see. You’re chatting with someone, we’re at the piano and we’re talking about an arrangement, “OK, let’s do a run,” and then, “Boom! Shit!” There he is.

It’s this other level. I feel like people at that level, music’s not something they’re fucking around with. [Laughs] Music is a spirit. You hear something, and if it strikes a chord with you, it connects something at your deepest core. People like that, when you see them do their thing, it really is this other plane. It’s not this show thing. It’s more of a possession. You can hear it in the music.

I feel like I’ve listened to more music during COVID than any time since I was like, 18. I had this moment when I was listening to these amazing records from the 1950s. You can hear the room. It’s almost like audio VR — you can hear the drummer here and the bass player over here. There’s a sense of space, particularly to that older music. It’s a snapshot. If you hear “La Bamba,” right now, that is what it is. It’s a spirit captured on vinyl, on a piece of tape. It’s alive within that.

With people like Mick, they’re a little bit closer to the spirit of rock ’n’ roll — a literal spirit, not a figurative spirit. Bowie was the same. When he played with us in Central Park, the second he hit the stage he’s illuminated. You’re like, “Oh, shit, that’s what it is.” He’s a human when you’re talking to him and as soon as he’s in it, he’s touched by another thing.

SNL (2007-Present)

I’m glad you brought SNL up, because you’ve been on it a bunch of times, but you’re also one of the musical acts they’ve brought into skits. Like, they actually wrote a game show around you. How does that work? Did they write that sketch with you guys, or you walked in and they’re like, “Hey, by the way…”

BUTLER: I can’t remember, I think we’ve been six or seven times. We’ve been there for a couple different casts at this point. The Lonely Island dudes, those are so my dudes. In another life, I would’ve been in Lonely Island, that would’ve been my dream to just fuck around with my friends; when we were first writing music we were kinda joking around because you’re too insecure to try. A lot of times [at SNL], we’ve played for the staff when we’re there, because you get so fired up to play one or two songs and you’re playing live so your endorphins are running so we just sort of keep playing afterwards. I feel like they appreciate that, it kinda feels like you’re on the same team or something.

I was backstage at SNL once last year, and it is pretty crazy to see it all from the inside like that.

BUTLER: It’s so crazy. They write it all that fucking week, and then to see the differences between the dress rehearsal and the live show. They do a little meeting in Lorne’s office. They’ve done the dress rehearsal and it’s still this tiny office and every cameraman and every cast member is crammed in this little office and Lorne’s like, “Make it a blue light instead of a green light at minute 23, and change this word to this word, I don’t think that’s funny, change that, OK, go,” and everyone’s got pencils writing this down. It’s still fucking that. And you know, it hits and misses sometimes, but they’re doing it.

How long did you have to work on your De Niro impression for that skit?

BUTLER: It’s actually more of a Billy Baldwin impersonation, but it seemed to work for De Niro as well. [Laughs] My only real impression is I can look exactly like Billy Baldwin if I want to. If there’s any casting directors reading this and you need a Billy Baldwin impersonator, I’m your man.

LCD Soundsystem’s Goodbye Show (2011)

You’re the one who ended up serendipitously coining the title of the live album.

BUTLER: [Laughs] That is true. That was genuine. He was being a little talky.

I moved to New York before I moved to Montreal, and I would go to the city and go to shows and I didn’t see one fucking thing that was good in the whole year. I was like, “Wait, I thought New York was the shit, where is it?” All I saw was bad, very industry bands. I couldn’t find anything, I wasn’t cool enough to figure out what was going on. There’s very few bands that I really think of, like bands of my generation where I heard them and thought “These are my people.” For me it was the Yeah Yeah Yeahs, LCD, and Wolf Parade. When I heard those bands, I thought, “These are my fellow pilgrims.” It was art, DIY, no bullshit, just trying to make something great that communicates to people. It’s real and emotional.

James is really just one of us. He’s just such a great engineer and really into the way things sound and really passionate about details. It’s rare to meet people like that. James was working with us when Bowie came in, when we were in Electric Lady. James had never met Bowie before. The first 7” he ever bought was “Fame.” We’re in this studio, and the last time Bowie was there he had cut “Fame” with John Lennon, in the same studio. We were all like, “This is the right place to be.”

James is just a man after my own heart. We did a tour with them on Neon Bible. We were playing to a thousand people in Salt Like City and I was like, “Man, in a couple years a lot more people are going to wish they were at this show.” What a fucking great live band.

Scoring Her (2013)

What kind of headspace did you have to get into for this vs. making an album?

BUTLER: Spike [Jonze] came to a bunch of our early shows on Funeral. The second I met him he was just immediately one of my best friends. He thinks about the world the same way. Even though we work in different mediums he was someone I knew I’d be working with in some capacity. I was visiting LA and I was staying with Spike just randomly one time, in the early days of him working on the script for Her. I was reading the script and immediately thinking about how it could sound, and I was like, “Well, we should fucking do the score to this movie.”

When you’re working on a record, it’s so rigid, what works on a song and what doesn’t work on a song. It can be so limiting in a way. Within the band, there’s so many different talents and color palettes and things people bring to the table, so it was cool to do something where the boss is the picture. It doesn’t matter how anyone feels about a piece, if it’s working for Spike, if it’s working in harmony with the picture, that’s what the boss is — the emotionality of the picture. It’s not about you, it’s in service to this bigger thing. It was a cool opportunity for all of us to use different aspects of things we do, and to work with Owen [Pallett], who had done a lot of strings on our records. It uses a totally different part of your brain.

Do you want to do more of that kind of work, or was it this specific story from Spike that spoke to you?

BUTLER: I can say pretty confidently that I’ll work with Spike in the future. It definitely takes a lot of energy. It’s definitely something I’m interested in, but I feel like while I’ve got the juice it’s good to spend as much energy writing songs as we can. It’s pretty fucking hard to make a record, believe it or not.

Future’s “Might As Well” Sampling “Owl” From Her(2017)

Are you a big Future fan?

BUTLER: I love Future. There’s something in the rhythm of the thing he does that actually reminds me of some music from Haiti, in this really deep, subtle way I can’t put my finger on. There’s something almost mystical in the way he sounds, and I thought that was really cool that they sampled that soundtrack. His shit does sound like the future still. I think it’s pretty special.

The Reach Of ”Wake Up” (2004-Present)

This song has had this big pop-culture reach over the years. U2 used it as their walk-on music in the ‘00s. It was used in the trailer for another Spike movie, Where The Wild Things Are. Macy Gray and John Legend both covered it. Microsoft ripped it off for a commercial. It was used in a commercial for LA’s bid for the Olympics.

BUTLER: That Microsoft money went to Haiti, by the way. They did rip it off. [Laughs] Thank you Microsoft.

As far as I know that’s far from an exhaustive list, too. It’s just one of those songs that’s gone out and become a part of the atmosphere. Even a lot of big bands don’t necessarily have a song like that. What do you think it is about “Wake Up” that’s registered in so many different contexts?

BUTLER: From the time we wrote that song to now, the biggest difference in my life is I’ve traveled the world and I’ve been able to play music in all these different cultures and feel the ways different countries feel music. Not only listening to the music in other countries but seeing how they feel the music I play.

I remember around The Suburbs we played in rural Haiti. It was our first time playing in a place where nobody in the audience had any of the reference points of the music we played. We were playing in the mountains, there were people walking in barefoot to the concert. We were playing these songs we had been touring the world with, and the energy from the crowd was so different. The things they responded to, the things they felt, it actually fundamentally changed the way I heard my own music. It made me start to think about music not just from my own perspective but culturally how people hear it and feel it.

I think the one thing that kind of transcends everything across all cultures is melody. Régine was playing that melody on piano in our rehearsal room. I hear it like it was yesterday. It was like, “That’s the shit.” [Laughs] Being present and being in the room, hearing something and really giving yourself to it, just singing that shit like it really meant it and feeling the power of that melody and trying to push it until it breaks. That’s something I think about, just how great it is to have people to play music with. To say it like you mean it.

I remember singing that song in Montreal, in these lofts. Most of our early fans, the first time we played that song, they were like “Fuck this shit, I want the acoustic shit.” People were so negative. I remember a lot of early fans didn’t come to our shows after that because we were suddenly screaming at the top of our lungs and playing electric guitars. It was like, “Everyone here hates this, that means we must be going in the right direction.” [Laughs] But yeah, don’t be discouraged if people hate something. It doesn’t mean shit.

https://www.stereogum.com/2105395/win-butler-interview-spike-jonze-arcade-fire-snl-mick-jagger-david-bowie/interviews/weve-got-a-file-on-you/

[amwritesitall]

Audrey Tindall Playlist

Masterlist

With Audrey’s playlist a lot of this is based on vibes, so I’m just going to put a little excerpt from the song :)

Playlist link

“Biggest Fan” by Voxtrot

I've never had much hope for my insecurities, but I love that you do. And everything that I lack and could never be, The other half is you, it's always been you. So hold on, hold on this means a lot to me. Cause I know, I know that you will always be. The one, the one, the one that I can count on for anything, anything. And I'll always be your biggest fan, and I'll always be your biggest fan.

“I Think We Danced (But I Can’t Be Sure)” by Ran’d

Go put your best dress on I'll meet you at your door And maybe tonight's just the night to take chances I've waited this whole week To sweep you off your feet And I swear I won't let you go 'til we're dancin'

“Pretty Girl” by Clairo

I could be a pretty girl Won't ever make you blue And I could be a pretty girl I'll lose myself in you 

“Falling for U” by Peacy!, mxmtoon

But I can't help it I'm falling for you And I can't quit it 'Cause I'm stuck on you And it might be pathetic and you might be skeptical But I just want to be with you 

“Cleopatra (Acoustic Demo)” by The Lumineers

I was Cleopatra, I was young and an actress And you knelt by my matress And asked for my hand And I was sad that you asked it, as I laid in a black dress, with my father in a cascette, I had no plans, And I left the foot prints, the mud stained on the carpet, and it hardened like my heart did when you left town But I must admit it, that I would marry you in an instant, damn your wife I'd be your mistress just to have you around

“Fool” by Cavetown

Call me on the phone at three, I talk to you while half asleep Complaining 'bout your mother so I take you to the cemetery Rant to me I like the sound, I like your voice, I like your mouth

“Astronaut Kids” by Hotel Fiction

Cause I don't need to be an astronaut who sails the sea As long as I can just hold you forever And I know I'm too old to dream and I should try to be something real And I don't need to be the man inside of the TV As long as I can just hold you forever, And I know I'm too old to dream and I should try to be something real

“Mona Lisa” by Valntn, Peter Fenn, Tray Haggerty

She's a Mona Lisa Everyone's lining up to see her There must be something 'bout her features You'll find her beauty goes much deeper Once you get to meet her

You see her walking down the boulevard She got the posture of a superstar She looks so fly in those Gucci Slides I wonder what she hides, under her disguise

“All My Loving” by The Stairwells

Close your eyes and I'll kiss you, Tomorrow I'll miss you; Remember I'll always be true. And then while I'm away, I'll write home ev'ry day, And I'll send all my lovin' to you.

“Silly Girl” by chloe moriondo

'Cause I'm just a silly girl in a stupid dumb old world I'm just a silly girl in my stupid dumb old world And he was perfect He was supposed to be

I made him perfect 'Cause I wanted him to be

“Crush” Tessa Violet

You make it difficult to not overthink And when I'm with you I turn all shades of pink, I wanna touch you but don't wanna be weird It's such a rush, I'm thinking wish you were here

“Crush Culture” by Conan Gray

Crush culture makes me wanna spill my guts out I know what you're doing, tryna get me to pursue ya Crush culture makes me wanna spill my guts out Spill my guts out, spill my guts out

“Classy Girls” by The Lumineers

She spoke of places I had never been That she had traveled to And we slow danced along to faster tunes

And I made her laugh, I made a pass I showed her my half-dollar ring She said, "That's pretty cool But classy girls don't kiss in bars, you fool"

“Build Me Up Buttercup” by Lara Anderson

Why do you build me up buttercup, baby Just to let me down and mess me around? And then worst of all you never call, baby When you say you will but I love you still I need you more than anyone, darlin' You know that I have from the start So build me up buttercup, don't break my heart

“Girlfriends” by The Academic

She's only 20 and she's driving a Bentley She's only 20 and she's driving me crazy I'm coming up, she's coming down I let your feet touch the ground She's my girlfriend

“as good as it gets” by sophie meiers

I remember the way the light fell On your shoulders that day I remember the face you made When you got the call Just throw your hope away

I type out too many messages A million things I wish that I could fix I wonder if this is as good as it gets As good as it gets

“Channel Orange In Your Living Room” by Charlie Burg

But now I can't stop thinking about you Each moment passes and my thoughts return to you And the memory of us too As we listen to Channel Orange in your living room

Even when you're away That album makes me feel like you stayed To listen now would make me a fool again for you

“Sea Sick” by binki

Sunken overboarding, I'm so sick of floating At least I'm sinking right beside you See there's no one like you It's not an obsession I just need to find you 'Cause

You could be my sunshine even when it's grey

“7PM” by Lilacs, Lizzy McAlpine

I don't usually do this But baby tell me that you love me and prove it I'm just so far away it's easy to lose it So tell me you're mine, oh I'm so stuck and I need you to pull me back out Say you love me and maybe I'll stop having doubts

“PlantedInMyMind.Memo” by Charlie Burg

You're stuck in my head But I only think of you Will we be together soon? I'm thrown on the wayside You're planted in my mind But I don't wanna be ok without you

“24 / 7 / 365″ by Surfaces

Met, this girl down by the vine Had long tan legs and big brown eyes Seemed the type I would wanna make mine

She said, I can tell you're not my type You're Mr. Wrong, I'm Mrs. Right This could never be what you wanna be tonight

“She Will Be Loved” by Maroon 5

I don't mind spendin' everyday Out on your corner in the pourin' rain Look for the girl with the broken smile Ask her if she wants to stay awhile And she will be loved, and she will be loved

Tap on my window, knock on my door, I Want to make you feel beautiful I know I tend to get so insecure It doesn't matter anymore

“Hey There Delilah” by Plain White T’s

Hey there, Delilah Don't you worry about the distance I'm right there if you get lonely Give this song another listen Close your eyes Listen to my voice, it's my disguise I'm by your side

“If I Die Young” by The Band Perry

And I'll be wearing white when I come into your kingdom I'm as green as the ring on my little cold finger I've never known the lovin' of a man But it sure felt nice when he was holding my hand

“Be My Mistake” by The 1975

I shouldn't have called 'Cause we shouldn't speak You do make me hard But she makes me weak

And don't wait outside my hotel room Just wait 'til I give you a sign 'Cause I get lonesome sometimes

“Letter From Last Summer” by Charlie Burg

I can't remember the name of the place Where I bought this backpack But I know it was somewhere with you in a city Where memories live of our love

Don't be a nuisance Just kiss me for longer 'Cause we have been crying as much as we've laughed Read aloud the letter from last summer So I can recall why I wrote it to you

“INC.” by Dori Valentine

My lady don't care 'bout no money She love me 'cause I'm cute She think I'm pretty funny now And all of the times we going broke It mean nothing to me now 'Cause she say that she want me She loves, loves me She loves me

“Burn Slowly/ I Love You” by The Brazen Youth

I love you like the forest loves the rain Like the water loves the drain, I love you

I love you like the wind, it loves to scream Like the child loves to dream, I love you

“Pretty Face” by PUBLIC

Do you know her? The girl that looks to you And would you love her The way that she loved you?

Such a pretty face You see her walking around It's the middle of the night And nobody makes a sound Says that she can do it but is she lying?

“Electric Love” by Mikaela Astel

Candy She's sweet like candy in my veins And baby, I'm dying for another taste

And every night my mind is running around her Thunder's getting louder and louder Baby you're like lightning in a bottle I can't let you go now that I got it

“Alignments” by Paige

I'm a liar if I told you I was coping To be honest its hard I'm a child if I cry over the small things Slowly breaking apart

And I won't blame the alignments for this one Eventually the bad days come And we run don't we?

“Just Like A Movie” by Wallows

Sneaking out, I'll try to meet you there White lights, now we're running down the stairs Everybody's wasted, throwing away their lives It's all the same 'cause no one ever tries

Through all the sounds that we're laying on the ground Don't ever care and the rest is hidden now How can it be that we are just the same? Or can it be that, can it be that?

“Million Bucks” by Smallpools

I used to be a skeptic non-believer But now it's changed, you're worth your weight in gold The richest love ain't growing on the trees out here But confidently, I can say I'm sold

Stay all-in right now Salt drips from her brow No more days without Makes me feel so right I can do no wrong We'll keep going strong

“So Far Away” by Carole King

So far away Doesn't anybody stay in one place anymore? It would be so fine to see your face at my door And it doesn't help to know that you're just time away

Long ago, I reached for you and there you stood Holding you again could only do me good Oh, how I wish I could But you're so far away

“Beautiful” by Jessie Mueller, Beautiful Ensemble

You've got to get up every morning with a smile on your face And show the world all the love in your heart Then people gonna treat you better You're gonna find, yes, you will That you're beautiful as you feel 

“Explain It at the Coffee Shop” by Ashton Edminster

Take my hand And hold it tight Look at the paintings I'll be your guide Don't stop looking in my eyes Are you cold Do you want to sit down I've been here a million times So I know my way around Don't stop looking at me now

“My Dude” by Litany

I hope you don't think I'm being cruel Only I'm a better match for you Oh what I'd give to be in her shoes Don't you know that

I really like you And if you liked me too I could be your girlfriend You could be my dude

“Runaway Man” by Olivia Willhite

So, baby, glide Right through the sky 'Cause you didn't look back when I said I loved you Baby, goodbye And leave me with a sigh You'll eventually hit the ground, and even then I'll be waiting for you

“Calvaire” by spill tab

Chiant tu m’exaspères Quand tu pars et tu me déserte Pres de toi chui jamais fière On finit toujours en guerre

-

You might like:  Sally McKenna Playlist or  Sarah’s AHS Characters (+Alice and a Ship) as Songs I’m Vibing With

[blackkudos]

Bob Marley

Robert Nesta Marley, (6 February 1945 – 11 May 1981) was a Jamaican singer, songwriter and musician. Considered one of the pioneers of reggae, his musical career was marked by fusing elements of reggae, ska, and rocksteady, as well as his distinctive vocal and songwriting style. Marley's contributions to music increased the visibility of Jamaican music worldwide, and made him a global figure in popular culture for over a decade. Over the course of his career Marley became known as a Rastafari icon, and he infused his music with a sense of spirituality. He is also considered a global symbol of Jamaican music and culture and identity, and was controversial in his outspoken support for the legalization of marijuana, while he also advocated for Pan-Africanism.

Born in Nine Mile, British Jamaica, Marley began his professional musical career in 1963, after forming Bob Marley and the Wailers. The group released its debut studio album The Wailing Wailers in 1965, which contained the single "One Love/People Get Ready"; the song was popular worldwide, and established the group as a rising figure in reggae. The Wailers subsequently released eleven further studio albums; while initially employing louder instrumentation and singing, the group began engaging in rhythmic-based song construction in the late 1960s and early 1970s, which coincided with the singer's conversion to Rastafarianism. During this period Marley relocated to London, and the group typified their musical shift with the release of the album The Best of The Wailers (1971).

The group attained international success after the release of the albums Catch a Fire and Burnin' (both 1973), and forged a reputation as touring artists. Following the disbandment of the Wailers a year later, Marley went on to release his solo material under the band's name. His debut studio album Natty Dread (1974) received positive reception, as did its follow-up Rastaman Vibration (1976). A few months after the album's release Marley survived an assassination attempt at his home in Jamaica, which prompted him to permanently relocate to London. During his time in London he recorded the album Exodus (1977); it incorporated elements of blues, soul, and British rock, enjoyed widespread commercial and critical success.

In 1977, Marley was diagnosed with acral lentiginous melanoma; he died as a result of the illness in 1981. His fans around the world expressed their grief, and he received a state funeral in Jamaica. The greatest hits album Legend was released in 1984, and became the best-selling reggae album of all time. Marley also ranks as one of the best-selling music artists of all time, with estimated sales of more than 75 million records worldwide. He was posthumously honored by Jamaica soon after his death with a designated Order of Merit by his nation. In 1994, he was inducted into the Rock and Roll Hall of Fame. Rolling Stone ranked him No. 11 on its list of the 100 Greatest Artists of All Time.

Early life and career

Bob Marley was born on 6 February 1945 at the farm of his maternal grandfather in Nine Mile, Saint Ann Parish, Jamaica, to Norval Sinclair Marley and Cedella Malcolm. Norval Marley was a white Jamaican originally from Sussex, whose family claimed to have Syrian Jewish origins. Norval claimed to have been a captain in the Royal Marines; at the time of his marriage to Cedella Malcolm, an Afro-Jamaican then 18 years old, he was employed as a plantation overseer. Bob Marley's full name is Robert Nesta Marley, though some sources give his birth name as Nesta Robert Marley, with a story that when Marley was still a boy a Jamaican passport official reversed his first and middle names because Nesta sounded like a girl's name. Norval provided financial support for his wife and child but seldom saw them as he was often away. Bob Marley attended Stepney Primary and Junior High School which serves the catchment area of Saint Ann. In 1955, when Bob Marley was 10 years old, his father died of a heart attack at the age of 70. Marley's mother went on later to marry Edward Booker, a civil servant from the United States, giving Marley two half-brothers: Richard and Anthony.

Bob Marley and Neville Livingston (later known as Bunny Wailer) had been childhood friends in Nine Mile. They had started to play music together while at Stepney Primary and Junior High School. Marley left Nine Mile with his mother when he was 12 and moved to Trenchtown, Kingston. She and Thadeus Livingston (Bunny Wailer's father) had a daughter together whom they named Claudette Pearl, who was a younger sister to both Bob and Bunny. Now that Marley and Livingston were living together in the same house in Trenchtown, their musical explorations deepened to include the latest R&B from United States radio stations whose broadcasts reached Jamaica, and the new ska music. The move to Trenchtown was proving to be fortuitous, and Marley soon found himself in a vocal group with Bunny Wailer, Peter Tosh, Beverley Kelso and Junior Braithwaite. Joe Higgs, who was part of the successful vocal act Higgs and Wilson, resided on 3rd St., and his singing partner Roy Wilson had been raised by the grandmother of Junior Braithwaite. Higgs and Wilson would rehearse at the back of the houses between 2nd and 3rd Streets, and soon, Marley (now residing on 2nd St.), Junior Braithwaite and the others were congregating around this successful duo. Marley and the others did not play any instruments at this time, and were more interested in being a vocal harmony group. Higgs was glad to help them develop their vocal harmonies, although more importantly, he had started to teach Marley how to play guitar—thereby creating the bedrock that would later allow Marley to construct some of the biggest-selling reggae songs in the history of the genre.

Musical career

1962–72: Early years

In February 1962, Marley recorded four songs, "Judge Not", "One Cup of Coffee", "Do You Still Love Me?" and "Terror", at Federal Studios for local music producer Leslie Kong. Three of the songs were released on Beverley's with "One Cup of Coffee" being released under the pseudonym Bobby Martell.

In 1963, Bob Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith were called the Teenagers. They later changed the name to the Wailing Rudeboys, then to the Wailing Wailers, at which point they were discovered by record producer Coxsone Dodd, and finally to the Wailers. Their single "Simmer Down" for the Coxsone label became a Jamaican No. 1 in February 1964 selling an estimated 70,000 copies. The Wailers, now regularly recording for Studio One, found themselves working with established Jamaican musicians such as Ernest Ranglin (arranger "It Hurts To Be Alone"), the keyboardist Jackie Mittoo and saxophonist Roland Alphonso. By 1966, Braithwaite, Kelso, and Smith had left the Wailers, leaving the core trio of Bob Marley, Bunny Wailer, and Peter Tosh.

In 1966, Marley married Rita Anderson, and moved near his mother's residence in Wilmington, Delaware in the United States for a short time, during which he worked as a DuPont lab assistant and on the assembly line at a Chrysler plant in nearby Newark, under the alias Donald Marley.

Though raised as a Catholic, Marley became interested in Rastafari beliefs in the 1960s, when away from his mother's influence. After returning to Jamaica, Marley formally converted to Rastafari and began to grow dreadlocks.

After a financial disagreement with Dodd, Marley and his band teamed up with Lee "Scratch" Perry and his studio band, the Upsetters. Although the alliance lasted less than a year, they recorded what many consider the Wailers' finest work. Marley and Perry split after a dispute regarding the assignment of recording rights, but they would continue to work together.

1969 brought another change to Jamaican popular music in which the beat slowed down even further. The new beat was a slow, steady, ticking rhythm that was first heard on The Maytals song "Do the Reggay." Marley approached producer Leslie Kong, who was regarded as one of the major developers of the reggae sound. For the recordings, Kong combined the Wailers with his studio musicians called Beverley's All-Stars, which consisted of the bassists Lloyd Parks and Jackie Jackson, the drummer Paul Douglas, the keyboard players Gladstone Anderson and Winston Wright, and the guitarists Rad Bryan, Lynn Taitt, and Hux Brown. As David Moskowitz writes, "The tracks recorded in this session illustrated the Wailers' earliest efforts in the new reggae style. Gone are the ska trumpets and saxophones of the earlier songs, with instrumental breaks now being played by the electric guitar." The songs recorded would be released as the album The Best of The Wailers, including tracks "Soul Shakedown Party," "Stop That Train," "Caution," "Go Tell It on the Mountain," "Soon Come," "Can't You See," "Soul Captives," "Cheer Up," "Back Out," and "Do It Twice".

Between 1968 and 1972, Bob and Rita Marley, Peter Tosh and Bunny Wailer re-cut some old tracks with JAD Records in Kingston and London in an attempt to commercialise the Wailers' sound. Bunny later asserted that these songs "should never be released on an album ... they were just demos for record companies to listen to". In 1968, Bob and Rita visited songwriter Jimmy Norman at his apartment in the Bronx. Norman had written the extended lyrics for Kai Winding's "Time Is on My Side" (covered by the Rolling Stones) and had also written for Johnny Nash and Jimi Hendrix. A three-day jam session with Norman and others, including Norman's co-writer Al Pyfrom, resulted in a 24-minute tape of Marley performing several of his own and Norman-Pyfrom's compositions. This tape is, according to Reggae archivist Roger Steffens, rare in that it was influenced by pop rather than reggae, as part of an effort to break Marley into the US charts. According to an article in The New York Times, Marley experimented on the tape with different sounds, adopting a doo-wop style on "Stay With Me" and "the slow love song style of 1960s artists" on "Splish for My Splash". An artist yet to establish himself outside his native Jamaica, Marley lived in Ridgmount Gardens, Bloomsbury, during 1972.

1972–74: Move to Island Records

In 1972, Bob Marley signed with CBS Records in London and embarked on a UK tour with soul singer Johnny Nash. While in London the Wailers asked their road manager Brent Clarke to introduce them to Chris Blackwell, who had licensed some of their Coxsone releases for his Island Records. The Wailers intended to discuss the royalties associated with these releases; instead, the meeting resulted in the offer of an advance of £4,000 to record an album. Since Jimmy Cliff, Island's top reggae star, had recently left the label, Blackwell was primed for a replacement. In Marley, Blackwell recognised the elements needed to snare the rock audience: "I was dealing with rock music, which was really rebel music. I felt that would really be the way to break Jamaican music. But you needed someone who could be that image. When Bob walked in he really was that image." The Wailers returned to Jamaica to record at Harry J's in Kingston, which resulted in the album Catch a Fire.

Primarily recorded on an eight-track, Catch a Fire marked the first time a reggae band had access to a state-of-the-art studio and were accorded the same care as their rock 'n' roll peers. Blackwell desired to create "more of a drifting, hypnotic-type feel than a reggae rhythm", and restructured Marley's mixes and arrangements. Marley travelled to London to supervise Blackwell's overdubbing of the album which included tempering the mix from the bass-heavy sound of Jamaican music and omitting two tracks.

The Wailers' first album for Island, Catch a Fire, was released worldwide in April 1973, packaged like a rock record with a unique Zippo lighter lift-top. Initially selling 14,000 units, it received a positive critical reception. It was followed later that year by the album Burnin' which included the song "I Shot the Sheriff". Eric Clapton was given the album by his guitarist George Terry in the hope that he would enjoy it. Clapton was impressed and chose to record a cover version of "I Shot the Sheriff" which became his first US hit since "Layla" two years earlier and reached number 1 on the Billboard Hot 100 on 14 September 1974. Many Jamaicans were not keen on the new reggae sound on Catch a Fire, but the Trenchtown style of Burnin found fans across both reggae and rock audiences.

During this period, Blackwell gifted his Kingston residence and company headquarters at 56 Hope Road (then known as Island House) to Marley. Housing Tuff Gong Studios, the property became not only Marley's office but also his home.

The Wailers were scheduled to open 17 shows in the US for Sly and the Family Stone. After four shows, the band was fired because they were more popular than the acts they were opening for. The Wailers disbanded in 1974, with each of the three main members pursuing a solo career.

1974–76: Line-up changes and shooting

Despite the break-up, Marley continued recording as "Bob Marley & The Wailers". His new backing band included brothers Carlton and Aston "Family Man" Barrett on drums and bass respectively, Junior Marvin and Al Anderson on lead guitar, Tyrone Downie and Earl "Wya" Lindo on keyboards, and Alvin "Seeco" Patterson on percussion. The "I Threes", consisting of Judy Mowatt, Marcia Griffiths, and Marley's wife, Rita, provided backing vocals. In 1975, Marley had his international breakthrough with his first hit outside Jamaica, with a live version of "No Woman, No Cry", from the Live! album. This was followed by his breakthrough album in the United States, Rastaman Vibration (1976), which reached the Top 50 of the Billboard Soul Charts.

On 3 December 1976, two days before "Smile Jamaica", a free concert organised by the Jamaican Prime Minister Michael Manley in an attempt to ease tension between two warring political groups, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley's home. Taylor and Marley's wife sustained serious injuries but later made full recoveries. Bob Marley received minor wounds in the chest and arm. The attempt on his life was thought to have been politically motivated, as many felt the concert was really a support rally for Manley. Nonetheless, the concert proceeded, and an injured Marley performed as scheduled, two days after the attempt. When asked why, Marley responded, "The people who are trying to make this world worse aren't taking a day off. How can I?" The members of the group Zap Pow played as Bob Marley's backup band before a festival crowd of 80,000 while members of The Wailers were still missing or in hiding.

1976–79: Relocation to England

Marley left Jamaica at the end of 1976, and after a month-long "recovery and writing" sojourn at the site of Chris Blackwell's Compass Point Studios in Nassau, Bahamas, arrived in England, where he spent two years in self-imposed exile.

Whilst in England, he recorded the albums Exodus and Kaya. Exodus stayed on the British album charts for 56 consecutive weeks. It included four UK hit singles: "Exodus", "Waiting in Vain", "Jamming", and "One Love" (a rendition of Curtis Mayfield's hit, "People Get Ready"). During his time in London, he was arrested and received a conviction for possession of a small quantity of cannabis. In 1978, Marley returned to Jamaica and performed at another political concert, the One Love Peace Concert, again in an effort to calm warring parties. Near the end of the performance, by Marley's request, Michael Manley (leader of then-ruling People's National Party) and his political rival Edward Seaga (leader of the opposing Jamaica Labour Party) joined each other on stage and shook hands.

Under the name Bob Marley and the Wailers 11 albums were released, four live albums and seven studio albums. The releases included Babylon by Bus, a double live album with 13 tracks, were released in 1978 and received critical acclaim. This album, and specifically the final track "Jamming" with the audience in a frenzy captured the intensity of Marley's live performances.

1979–81: Later years

Survival, a defiant and politically charged album, was released in 1979. Tracks such as "Zimbabwe", "Africa Unite", "Wake Up and Live", and "Survival" reflected Marley's support for the struggles of Africans. His appearance at the Amandla Festival in Boston in July 1979 showed his strong opposition to South African apartheid, which he already had shown in his song "War" in 1976. In early 1980, he was invited to perform at 17 April celebration of Zimbabwe's Independence Day.

Uprising (1980) was Bob Marley's final studio album, and is one of his most religious productions; it includes "Redemption Song" and "Forever Loving Jah". Confrontation, released posthumously in 1983, contained unreleased material recorded during Marley's lifetime, including the hit "Buffalo Soldier" and new mixes of singles previously only available in Jamaica.

Illness and death

In July 1977, Marley was found to have a type of malignant melanoma under the nail of a toe. Contrary to urban legend, this lesion was not primarily caused by an injury during a football match that year but was instead a symptom of already-existing cancer. Marley turned down his doctors' advice to have his toe amputated (which would have hindered his performing career), citing his religious beliefs, and instead, the nail and nail bed were removed and a skin graft was taken from his thigh to cover the area. Despite his illness, he continued touring and was in the process of scheduling a world tour in 1980.

The album Uprising was released in May 1980. The band completed a major tour of Europe, where it played its biggest concert to 100,000 people in Milan. After the tour, Marley went to the United States, where he performed two shows at Madison Square Garden in New York City as part of the Uprising Tour.

Marley's last concert occurred at the Stanley Theater (now called The Benedum Center For The Performing Arts) in Pittsburgh, Pennsylvania, on 23 September 1980. Just two days earlier he had collapsed during a jogging tour in Central Park and was brought to the hospital where he learned that his cancer had spread to his brain.

The only known photographs from the show were featured in Kevin Macdonald's documentary film Marley.

Shortly afterward, Marley's health deteriorated as his cancer had spread throughout his body. The rest of the tour was canceled and Marley sought treatment at the Bavarian clinic of Josef Issels, where he received an alternative cancer treatment called Issels treatment partly based on avoidance of certain foods, drinks, and other substances. After eight months of effectively failing to treat his advancing cancer Marley boarded a plane for his home in Jamaica.

While Marley was flying home from Germany to Jamaica, his vital functions worsened. After landing in Miami, Florida, he was taken to the hospital for immediate medical attention. Marley died on 11 May 1981 at Cedars of Lebanon Hospital in Miami (now University of Miami Hospital), aged 36. The spread of melanoma to his lungs and brain caused his death. His final words to his son Ziggy were "Money can't buy life."

Marley received a state funeral in Jamaica on 21 May 1981, which combined elements of Ethiopian Orthodoxy and Rastafari tradition. He was buried in a chapel near his birthplace with his guitar.

On 21 May 1981, Jamaican Prime Minister Edward Seaga delivered the final funeral eulogy to Marley, declaring:

His voice was an omnipresent cry in our electronic world. His sharp features, majestic looks, and prancing style a vivid etching on the landscape of our minds. Bob Marley was never seen. He was an experience which left an indelible imprint with each encounter. Such a man cannot be erased from the mind. He is part of the collective consciousness of the nation.

Legacy

Awards and honours

1976: Rolling Stone Band of the Year

June 1978: Awarded the Peace Medal of the Third World from the United Nations.

February 1981: Awarded the Jamaican Order of Merit, then the nation's third highest honour, .

March 1994: Inducted into the Rock and Roll Hall of Fame.

1999: Album of the Century for Exodus by Time Magazine.

February 2001: A star on the Hollywood Walk of Fame.

February 2001: Awarded Grammy Lifetime Achievement Award.

2004: Rolling Stone ranked him No. 11 on their list of the 100 Greatest Artists of All Time.

2004: Among the first inductees into the UK Music Hall of Fame

"One Love" named song of the millennium by BBC.

Voted as one of the greatest lyricists of all time by a BBC poll.

2006: A blue plaque was unveiled at his first UK residence in Ridgmount Gardens, London, dedicated to him by the Nubian Jak Community Trust and supported by Her Majesty's Foreign Office.

2010: Catch a Fire inducted into the Grammy Hall of Fame (Reggae Album).

Other tributes

A statue was inaugurated, next to the national stadium on Arthur Wint Drive in Kingston to commemorate him. In 2006, the New York City Department of Education co-named a portion of Church Avenue from Remsen Avenue to East 98th Street in the East Flatbush section of Brooklyn as "Bob Marley Boulevard". In 2008, a statue of Marley was inaugurated in Banatski Sokolac, Serbia.

Internationally, Marley's message also continues to reverberate among various indigenous communities. For instance, the Australian Aboriginal people continue to burn a sacred flame to honour his memory in Sydney's Victoria Park, while members of the Native American Hopi and Havasupai tribes revere his work. There are also many tributes to Bob Marley throughout India, including restaurants, hotels, and cultural festivals.

Marley evolved into a global symbol, which has been endlessly merchandised through a variety of mediums. In light of this, author Dave Thompson in his book Reggae and Caribbean Music, laments what he perceives to be the commercialised pacification of Marley's more militant edge, stating:

Bob Marley ranks among both the most popular and the most misunderstood figures in modern culture ... That the machine has utterly emasculated Marley is beyond doubt. Gone from the public record is the ghetto kid who dreamed of Che Guevara and the Black Panthers, and pinned their posters up in the Wailers Soul Shack record store; who believed in freedom; and the fighting which it necessitated, and dressed the part on an early album sleeve; whose heroes were James Brown and Muhammad Ali; whose God was Ras Tafari and whose sacrament was marijuana. Instead, the Bob Marley who surveys his kingdom today is smiling benevolence, a shining sun, a waving palm tree, and a string of hits which tumble out of polite radio like candy from a gumball machine. Of course it has assured his immortality. But it has also demeaned him beyond recognition. Bob Marley was worth far more.

Several film adaptations have evolved as well. For instance, a feature-length documentary about his life, Rebel Music, won various awards at the Grammys. With contributions from Rita, The Wailers, and Marley's lovers and children, it also tells much of the story in his own words. In February 2008, director Martin Scorsese announced his intention to produce a documentary movie on Marley. The film was set to be released on 6 February 2010, on what would have been Marley's 65th birthday. However, Scorsese dropped out due to scheduling problems. He was replaced by Jonathan Demme, who dropped out due to creative differences with producer Steve Bing during the beginning of editing. Kevin Macdonald replaced Demme and the film, Marley, was released on 20 April 2012. In 2011, ex-girlfriend and filmmaker Esther Anderson, along with Gian Godoy, made the documentary Bob Marley: The Making of a Legend, which premiered at the Edinburgh International Film Festival.

In October 2015, Jamaican author Marlon James' novel A Brief History of Seven Killings, a fictional account of the attempted assassination of Marley, won the 2015 Man Booker Prize at a ceremony in London.

In February 2020, the musical Get Up Stand Up!, the Bob Marley Story was announced by writer Lee Hall and director Dominic Cooke, starring Arinzé Kene as Bob Marley. It will open at London's Lyric Theatre in February 2021.

Personal life

Religion

Bob Marley was a member for some years of the Rastafari movement, whose culture was a key element in the development of reggae. He became an ardent proponent of Rastafari, taking its music out of the socially deprived areas of Jamaica and onto the international music scene. He once gave the following response, which was typical, to a question put to him during a recorded interview:

Interviewer: "Can you tell the people what it means being a Rastafarian?"

Marley: "I would say to the people, Be still, and know that His Imperial Majesty, Emperor Haile Selassie of Ethiopia is the Almighty. Now, the Bible seh so, Babylon newspaper seh so, and I and I the children seh so. Yunno? So I don't see how much more reveal our people want. Wha' dem want? a white god, well God come black. True true."

Archbishop Abuna Yesehaq baptised Marley into the Ethiopian Orthodox Church, giving him the name Berhane Selassie, on 4 November 1980, shortly before his death.

Family

Bob Marley married Alpharita Constantia "Rita" Anderson in Kingston, Jamaica, on 10 February 1966. Marley had many children: four with his wife Rita, two adopted from Rita's previous relationships, and several others with different women. The official Bob Marley website acknowledges 11 children.

Those listed on the official site are:

Sharon, born 23 November 1964, daughter of Rita from a previous relationship but then adopted by Marley after his marriage with Rita

Cedella born 23 August 1967, to Rita

David "Ziggy", born 17 October 1968, to Rita

Stephen, born 20 April 1972, to Rita

Robert "Robbie", born 16 May 1972, to Pat Williams

Rohan, born 19 May 1972, to Janet Hunt

Karen, born 1973 to Janet Bowen

Stephanie, born 17 August 1974; according to Cedella Booker she was the daughter of Rita and a man called Ital with whom Rita had an affair, nonetheless, she was acknowledged as Bob's daughter

Julian, born 4 June 1975, to Lucy Pounder

Ky-Mani, born 26 February 1976, to Anita Belnavis

Damian, born 21 July 1978, to Cindy Breakspeare

Other sites have noted additional individuals who claim to be family members, as noted below:

Makeda was born on 30 May 1981, to Yvette Crichton, after Marley's death. Meredith Dixon's book lists her as Marley's child, but she is not listed as such on the Bob Marley official website.

Various websites, for example, also list Imani Carole, born 22 May 1963 to Cheryl Murray; but she does not appear on the official Bob Marley website.

Marley also has two notable grandsons, musician Skip Marley and American football player Nico Marley.

Association football

Aside from music, association football played a major role throughout his life. As well as playing the game, in parking lots, fields, and even inside recording studios, growing up he followed the Brazilian club Santos and its star player Pelé. Marley surrounded himself with people from the sport, and in the 1970s made the Jamaican international footballer Allan "Skill" Cole his tour manager. He told a journalist, "If you want to get to know me, you will have to play football against me and the Wailers."

Personal viewsPan-Africanism

Marley was a Pan-Africanist and believed in the unity of African people worldwide. His beliefs were rooted in his Rastafari religious beliefs. He was substantially inspired by Marcus Garvey, and had anti-imperialist and pan-Africanist themes in many of his songs, such as "Zimbabwe", "Exodus", "Survival", "Blackman Redemption", and "Redemption Song". "Redemption Song" draws influence from a speech given by Marcus Garvey in Nova Scotia, 1937. Marley held that independence of African countries from European domination was a victory for all those in the African diaspora. In the song "Africa Unite", he sings of a desire for all peoples of the African diaspora to come together and fight against "Babylon"; similarly, in the song "Zimbabwe", he marks the liberation of the whole continent of Africa, and evokes calls for unity between all Africans, both within and outside Africa.

Cannabis

Marley considered cannabis a healing herb, a "sacrament", and an "aid to medication"; he supported the legalisation of the drug. He thought that marijuana use was prevalent in the Bible, reading passages such as Psalms 104:14 as showing approval of its usage. Marley began to use cannabis when he converted to the Rastafari faith from Catholicism in 1966. He was arrested in 1968 after being caught with cannabis but continued to use marijuana in accordance with his religious beliefs. Of his marijuana usage, he said, "When you smoke herb, herb reveal yourself to you. All the wickedness you do, the herb reveal itself to yourself, your conscience, show up yourself clear, because herb make you meditate. Is only a natural t'ing and it grow like a tree." Marley saw marijuana usage as a vital factor in religious growth and connection with Jah, and as a way to philosophise and become wiser.

Discography

Studio albums

The Wailing Wailers (1965)

Soul Rebels (1970)

Soul Revolution (1971)

The Best of The Wailers (1971)

Catch a Fire (1973)

Burnin' (1973)

Natty Dread (1974)

Rastaman Vibration (1976)

Exodus (1977)

Kaya (1978)

Survival (1979)

Uprising (1980)

Confrontation (1983)

Live albums

Live! (1975)

Babylon by Bus (1978)

See also

Outline of Bob Marley

List of peace activists

Fabian Marley

Desis bobmarleyi – an underwater spider species named in honor of Marley

[omdaily10]

PLEASE DON'T LET ME GO

Writers: Olly Murs, Claude Kelly and Steve Robson

Producers: FutureCut, Steve Robson

Album: Olly Murs

Release Date: 29/08/2010

B-Side: 'This One's For The Girls' (Writers: Olly Murs, James Bryan, George Astasio, Jason Pebworth, Jon Shave / Producers: The Invisible Men)

Chart Positions: #1 (UK), #2 (Scotland), #5 (Ireland), #31 (Belgium), #35 (Slovakia)

Certifications: Gold (UK, 400k)

And so, from here, we begin our story. Or rather, we begin eight months before that on Sunday, 13th December 2009. 16.2 million watched the final of that year's series of ITV talent show The X Factor, as Olly Murs, a 26 year old call centre worker from Witham, Essex, finished second place in an epic battle for a multi-million pound recording contract and instant superstardom, as affable Geordie with voice of an angel, Joe McElderry, took the grand prize home (except the other crucial element afforded to the winner, namely that year's Christmas number one, with a cookie cutter cover version of Miley Cyrus' hit 'The Climb', was denied of him by a group of angry hardcore rock fans downloading a 15 year old track by Rage Against The Machine. So, if anything, you might say it was a dodged bullet).

X Factor history, and reality TV generally, had taught us up to that point, that beyond the smoke, fanfare and mirrors of the climaxes of these shows, only in very select cases did a long-term career come for the finalists - winners or not. True, Leona Lewis had become the global, worldwide star the show had long been trying to make, and previous series’ finalists JLS and Alexandra Burke had emerged to chart topping singles, mass hysteria and adoration. But most of them usually wound up dropped after the inevitable third or fourth single/difficult second album flopped, to be found thereafter performing on the Portsmouth to Bilbao ferry, or doing panto opposite Orville the duck and disgraced comedian Justin Lee Collins.

Most of them didn't go onto be, as Olly set out in his mission statement on that first audition, 'to be famous, to sell records, and be an international superstar'. But even though he’d been in the front rooms of millions of viewers for a whole three months, no one seemed confident that this cheeky but charming Essex lad was going to become one of the biggest British male solo artists of his generation. Simon Cowell, who was Olly’s mentor in the ‘Over 25s’ category on the show, said that they had gone in with a mission to win. Speaking in 2010, Cowell said: ‘When you’ve lost, words don’t mean an awful lot … And then the next day, I had [Epic Records’ boss] Nick Raphael, who’d signed JLS on the phone, saying “I want Olly”. Perfect.’ Speaking that same year, Nick said: ‘When you meet him, you like him, and like how he is around other people, and it’s very hard for us to find artists who you can like easily.’

Olly finally signed the dotted line on his £1m record deal with Epic in February 2010, just before embarking on The X Factor national arena tour that all the contestants of the previous series appeared on. Nick, along with his long time collaborative A&R partner Jo Charrington, who’d overseen the development and launch not only of JLS, but also Jay-Z, Another Level, Blue, Paloma Faith, and then later on, Sam Smith and 5 Seconds Of Summer, envisaged Olly being his own artist, and to appeal to as broad an audience as possible by taking an active role in his own music and artistry, and not just releasing the stock album of covers on Mother’s Day to remind Doris in Leighton Buzzard of who he was before she moved on with the rest of The X Factor’s audience to the next thing.

Olly was quickly dispatched to writing sessions with several teams and established songwriters and producers. Among these were two men who have been a part of over 50% of the songs we’re going to meet along our journey through his career: New York born and bred superhit writer, Claude Kelly, and top pop producer Steve Robson. Between them, they’d written or produced countless chart-topping singles and albums for everyone, from Whitney Houston to Take That.

Whilst the search for the sound of his first musical offerings to the world got underway, the cool but contemporary likes of Jason Mraz and Jack Johnson had been topping the charts, and a lilting, reggae influenced pop song by an unknown Australian writer, called ‘Feel Free’, was demoed in early sessions. Although unreleased to this day, sources suggested at the time that it was not a million miles away from Johnson’s own ‘Sitting, Waiting, Wishing’ or Mraz’s ‘I’m Yours’. Olly immediately knew that this was a sound that reflected his personality – upbeat, fun and laidback – and that this was the direction he wanted to go in.

As an introductory record, ‘Please Don’t Let Me Go’ might seem like a strange choice with hindsight, certainly compared to later records of Olly’s we’ll meet, being as it is a plea to a former lover not to end things with the hapless, lovelorn soul in the song who’s ‘heart is b-b-beating double time’. Although it does carry a lot of the tropes key to a debut release by a mainstream pop artist. It has an irresistible, catchy chorus with a strong melody. And, at a time when the charts were full of EDM and futuristic, bombastic artists that were worshipped like other worldly creatures, it immediately stood out when it came on the radio.

And then there’s the video. The ‘gate-crashing a party as introduction to a brand-new artist’ trope of pop videos has been utilised for decades – remember the Spice Girls’ video for ‘Wannabe’? At a posh summer garden party at a sprawling country pile, Olly turns up on a Moped adorned in a Harrington jacket, grandad shirt, shades and trilby. If Terry McCann, the title character of 80s TV show Minder had been a popstar, one imagines that Olly in the ‘Please Don’t Let Me Go’ video would’ve been the end result.

It’s a clever angle for his first video, because it establishes him outside of his telly roots enough as the relatable underdog taking his first steps into the sprawling country piles and excess that represents the pop industry. It was very different to what was out there, some more toffy nosed might say it was uninvited, but over the song’s duration, he gradually charms its guests (read: we the listeners) into acceptance. Which upon its release at the end of summer 2010, is precisely what Olly achieved with this single. Locked in a chart battle for number one with Katy Perry, one of the biggest and most outlandish popstars of all in 2010, and as big as pop music got at that time – and also crucially, the polar opposite of Olly – sales for the single went through the roof, and it landed straight in at number one in the UK.

For a first single, it does what an introduction should do – announce the artist in just over three minutes, but to leave just enough to have the listener wanting more. A lot of the sensibilities in ‘Please Don’t Let Me Go’ continue to be common features of what makes an Olly Murs record instantly recognisable, as we shall see in the coming weeks. And with ten weeks on the chart, and his first gold record to his name, as well as hitting the charts in four other countries, it was clear that the public wouldn’t be letting go of him anytime soon.

OTHER THOUGHTS

‘This One’s For The Girls’, the song’s B-side, is a fan favourite, and it’s not hard to see why. It’s a good time party track celebrating his love of ‘the girls all around the world’, with a sound more than a little indebted to that of early Jackson 5. Jon Shave, who’d previously worked with top pop producer Brian Higgins at Xenomania, and two former members of 00s indie band Orson had a big hand in the production of the song.

[spotlightsaga]

Kevin Cage of @spotlightsaga reviews... Big Little Lies (S01E03) Living The Dream Airdate: March 5, 2017 @hbo Ratings: 1.040 Million :: 0.41 18-49 Demo Share Score: 8.25/10 **********SPOILERS BELOW********** Here's the Tea... And I'm straight up pouring, no sugar, and you coffee drinkers will have to take it black. Money can make certain things easier for you, but it doesn't fill the void... That void inside all of us. And whether you want to admit it or not... We are human beings, we go through life and act as if we're civilized, as if we aren't animals, as if there aren't primal instincts that go against the moral code that was beaten into our heads as young children. Some of the weirdest shit pops into my head, I may look at something and think the most bizarre things ever and ask myself, 'Why did I just think that?' Shame is the most powerful human emotion and we as human beings will go to any lengths to masque it. I would love to get to a point where we could really, really REALLY talk human nature, but when you *truly* do it seems to comes back to haunt you... Someway, somehow. We are all hiding 'Big Little Lies', dirty little secrets, we do weird things when no one is watching and very rarely will you meet someone who is ultimately 100% free to express themselves the way they want. I'm not sure that person even exists. 'Living The Dream' is a phenomenal piece of moving art. Those animalistic natures, those aforementioned random, shameful animalistic ideas or acts that pop into our heads are hinted at multiple times in the episode. And when Celeste and Perry go to a therapist to seek help, they do something very human and leave out a massive detail... The most important one of them all. It's not like they aren't in a safe space, but as much as those fleeting bizarro, unspeakable acts that pop into people's heads that they may consider for two seconds, or like in this case Celeste & Perry do act on them and beat each other until they are suddenly having raw, visceral, violent sex... As if they can't express themselves in a healthy and productive manner... And they use this as a way to express all their repressed emotions swirling inside their very being like a Category 5 Hurricane. Yet when they are faced with an opportunity to try and fix it in a safe, controlled, therapeutic environment, they don't... Because deep down, they don't want to fix it. Maybe it's their piece of chaos in a world of perfection and order, and they need it for a release that they haven't figured out how to get it elsewhere. Don't get me started here... But if we all just fucking took MDMA with our partners from time to time and just loved, spoke freely, and did whatever we wanted it the moment together as one... I think people would be a lot happier... And murders or strange occurrences or whatever we're leading to would happen less and less. I'll save my 'Power of the Modern Shaman' speech for another day, another time. I digress... I love that we got to know Renata a little better in this episode. I love the humility she put on display when she called Madeline and attempted to throw in the towel. I want to know this woman more... What is it about Renata that Madeline despises so much? All these female personalities and perspectives are just clashing in BLL, well that or falling on either sides of the line. They all are fighting their own private battles... And I think it was incredibly smart to give us a huge piece of Madeline so early on the season. She's most definitely a 'bulldog', but after last week's episode we understand why.... And after seeing her having to pull over and cry after Jane shared her past and story behind Ziggy's conception, let's us know that Madeline may be a 'bulldog', but she's one of the good ones. And just like the other women of this town, she is fighting for her place in this world. She refuses to let people walk all over her or anyone she takes to. Sometimes she goes too far, but her intentions are good... And the more I learn and understand the cogs and machinery that make these women tick, the deeper I fall into the story. 'Big Little Lies is such a distinguished mystery... But it's also a candid look at the in and outs of human behaviors... Human psychology and sociology. We can do, think, and say awful things sometimes, but that doesn't make us bad people... It makes us human. I don't know Jane is doing in Monterey. I thought she was running from something, but the scene where she is paralyzed in fear with the idea of someone invading her home leads me to think that she's not running away, she's running head first into whatever it is that's been haunting her. After all, the best way to conquer your fears, it's to face them head on.

[thesinglesjukebox]

KATY PERRY FT. SKIP MARLEY - CHAINED TO THE RHYTHM [3.77] Maybe Katy should take her Jamaican Guy and go back to the Private Life.

Thomas Inskeep: Full disclosure: I came into this not expecting to like it, but trying to keep an open mind. But then Katy decided to show off how "woke" she thinks she is. Ooh, we're "all chained to the rhythm," but clearly should be doing more to change the world, just like Katy Perry. Some of us, however, still haven't forgotten the likes of "Ur So Gay." She can claim she's progressive etc. all she wants, but I don't buy it for a minute; Perry will do whatever she thinks will sell sell sell her records. Bizarrely, she seems to think that a cod-reggae beat is the answer in 2017? (Or more accurately, that could be the fault of co-writer Sia, who's predisposed to such notions.) Because you know what's awesome? When white artists show you how much they know about "rhythm" by featuring -- oh, I know! Let's get a member of the Marley family in here! Great idea! Perry's screechy, barely-in-tune voice doesn't help matters, of course. Here's hoping this is the beginning of the end of her career: she's like the Paula Abdul of the '00s/'10s, only without the half-decent songs and pleasant personality. There is no pop star today worse than Katy Perry, full stop. [0]

Cédric Le Merrer: Katy Perry is my mainstream barometer. When she made "I Kissed a Girl," showy but defensive female bisexuality was totally where people were at. When she made trap-pop, it became the new normal. Now Katy Perry is confusedly woke, and you can't tell me that's not the norm in 2017. Her terribly heavy-footed scansion even works in her favor thematically, as she's completely chained to that stomping rhythm. Incapable of taking any liberty from the beat, she moves around like Link wearing his iron boots. So as usual, it's a bit terrible but it also makes things easy for us weak singers wanting an easy song for karaoke, and whatever my reservations, in the end Katy and Max Martin always win me over. [8]

Megan Harrington: Who but Katy Perry would turn three minutes of arena pop into a very, very, extremely literal call for wokeness? Even her obviousness is obvious. Of course she's pivoted away from the lusty pleasure of her early hits and toward a crude attempt at "real" meaning. "Chained to the Rhythm" is, ultimately, not a very good song, but Perry is familiar, even comfortable, in her clunky movements. We'll never know that utopian future but Perry would be there, no matter the sleight of fate's hand. And "Chained to the Rhythm" in a good year is -- unsurprisingly -- the exact same song as "Chained to the Rhythm" in a bad year. She is a coin with only one side. [7]

Claire Biddles: Like a latterday Daft Punk song that's been cloned over and over again until its defining features are completely flattened out, "Chained to the Rhythm" is so insubstantial that I swear it stops existing after it finishes playing. The lyrics are full of self-drags -- she MUST have known asking "Are we tone deaf?" would be used against her in a review -- and there's something particularly desp about the way she references "your favourite song" knowing that this could never be it. [2]

Maxwell Cavaseno: The inexplicable pivot of the cheesiest, most banal to trying to edge upon wokeness is certainly not the career move you'd expect from Katy Perry off-hand but at the same time, it's been brewing. She's moved from the goofiness into a sea of power-ballads of vague ambition and motivation, so to create an anthem meant to parse through a sea of bullshit by feeding vague lines about utopia and what have you is not improbable. And not for nothing, for all Sia's weird reggae mining and her bullshit fake patois voice she built for playing Trojan RiRi, she's only just recently bothered to put an actual Jamaican on a record or get them writers' credit. And so the awkward promo-featuring of Tuff Gong's grandson is maybe a weird gesture for authenticity from someone so unlikely, but I can't be too upset given this surprisingly rare accommodation. If there's anything to say about this in particular that's a flaw, it's that in many ways it feels too calculated, in a way that Katy Perry used to never bother with. As unflattering or at times infuriating as her lack of foresight could be sometimes, there was something to be said for being so brash. [6]

Anthony Easton: When your entire genre is founded, and continually plays, with notions of black authenticity, does it mean anything that Perry plays with patois, and if it doesn't--why does she have Skip Marley, and if it does, does it mean anything that she doesn't fully commit (rhythm instead of riddim). Minus a point for talking about distortion without having any of it at all, plus a point for sneaking the word empire in. [4]

Alfred Soto: My delight at the "distortion" in a dance pop tune is mitigated by Katy Perry's odd stresses; in this case they land on the last syllable, which has the effect of howling when someone digs a high heel into your big toe. A similar travesty happens in the phrase "to the rhy-THM, to the rhy-THM." Still, the gloss suits her: if any performer would revel in being chained to a rhythm, it's Perry, who in some bars sounds like Toni Braxton. [6]

William John: She did not get away with the grating elongation of "unconditionally", so I have no idea how Katy Perry has been permitted to transgress again with such klutzy abandon; once again, we are faced with an extreme case of the wrong emphasis on the wrong syllable. As to the song's alleged "woke-ness", I proffer no comment save that it's unlikely any slumbering apoliticals will be roused by a track with empty platitudes and such narrow dynamic range. [2]

Will Adams: The trendification of aligning with social justice causes has made it easier than ever for people like Katy "Artist. Activist. Conscious." Perry to market themselves as woke with just a modicum of effort (all while continuing to act as shitty as they always have). The idea that "Chained to the Rhythm" and its vague politics have any potential for significant impact is one of the more insulting concepts the pop machine has lobbed at us in recent memory. But even if Perry had any insight, we'd still have to contend with this torpid mess of recycled Weeknd disco, indulgent Sia-isms, and Perry outdoing the awful scansion on "Unconditionally" a million times over. There's no bite to this, no feeling, and no reason to dandandance. [1]

Katie Gill: American pop music can't be THIS starved for bangers, can it? [3]

Mo Kim: Katy Perry is so bad at being radical that she needed to hire a black reggae artist as a temp for this. [3]

Scott Mildenhall: After all that apocalyptopop a few years ago it's weird that now, with the Doomsday Clock actually closer to midnight than at any point since 1953, Katy Perry doesn't sound that arsed about the walking daymare she's describing. It's not like she's known for her subtlety -- if anything it's like she's trying to undersell the hugely unsubtle "makes you think"-type statements in the lyrics. Weirder still is that "Wide Awake" already did all this without any obvious allusions to infer (and thus better), but at the very least it avoids the weirdest possibility: being completely terrible. As it's akin to an inessential Sébastien Tellier remix, it really isn't that, but it is strangely bloodless. [6]

Katherine St Asaph: One point for every point I'm not giving this: 1. I did not expect Melanie Martinez to be where Katy Perry was positioning herself. 2. If you told me Katy Perry was doing Pleasantville, I would have expected a pinup theme. 2a. Though it's remarkable that the cover art doesn't show her face, and yet still manages to showcase her boobs. 2b. I'm sure Vigilant Citizen is on that photo. God, for the days of obscure cranks. 3. Sia still doesn't do subtext, at all. If she feels zombified, the lyric will have shambling goddamn zombies. 4. Or maybe she does, because this is a subtext-free "Chandelier," down to the isolatable "dance, dance, dance!" and "DRINK!" interjections. 4a. Someone get those ornaments out of her picket fence. Get the lens out too. 4b. Disco balls-and-chains aside, I actually don't think anyone involved was trying to avoid "Slave to the Rhythm." This is the exact kind of tweak-a-word that's Sia's main writing trick, and besides, Katy Perry did "E.T.," she doesn't care. 5. How is Katy Perry one of the few singers who doesn't sound exactly like Sia's demo vocals? Is this a sign of her being a distinctive singer, or too limited to try? 6. I blame Max Martin for the Swedish reggae. Ali Payami probably did the prechorus. 6a. Because they just had to get the funk guitar in somewhere, didn't they? This sounded much better at the Grammys, where it sounded like a more straight-ahead Martin/Payami track. 6b. With a line like "dance to the distortion," would some distortion be too much to ask? 7. I have no idea what Skip Marley is doing here and neither does anyone else. 8. Why does Woke Katy Perry just sound like the late '90s, the time of Fight Club and The Matrix and endless plaints by landfill alternative bands about the pathetic emptiness of our meaningless, consumer-driven lives? Sia was also a product of the '90s; I bet if she released "Chandelier" today that would be called political too. 9. In these days of our Pigmask Putin we're going to see a lot more of these political-shaped but anodyne "protest" songs, aren't we? Please extradite me to wherever it is that I did whatever it was to deserve this. [1]

[Read, comment and vote on The Singles Jukebox ]

[mayofrio]

♡ music of 2017 ♡

⭐ — personal favorite! 

♡ music of january 2017 ♡

morphine — michael jackson (blood on the dance floor: history in the mix) [1997] 

wheel of fortune — kay starr (the hits of kay starr) [1952]

girls, girls — snoop dogg, jamie kennedy, e-white, delano (malibu’s most wanted) [2003] ⭐

last time — trey songz (trey day) [2007]

slime shit — young thug, yak gotti, duke, peewee roscoe (slime season 3) [2016] ⭐

rush — kali úchis (por vida) [2015] ⭐

can’t get you out of my head (cover) — lee glasson [2014] ⭐

can’t get you out of my head — kylie minogue (fever) [2001] ⭐

chill bill — rob stone, j. davis, spooks (straight bummin’) [2016]

redbone — childish gambino (awaken, my love!) [2016]

a lonely night — the weeknd (starboy) [2016]

♡ music of february 2017 ♡

mamma mia — kara (day & night) [2014] ⭐

down — marian hill (act one) [2016] ⭐

lowlife — poppy (bubblebath) [2015]

klapp, klapp — little dragon (klapp, klapp) [2014]

with them — young thug (slime season 3) [2016]

perm — bruno mars (24k magic) [2016] ⭐

halftime — young thug (barter 6) [2015]

♡ music of march 2017 ♡

restless… — axian [2017] ⭐

dat $tick — young chigga [2016] ⭐

spend it (remix) — dae dae, young thug, young m.a. [2016] ⭐

i don’t wanna do this anymore — xxxtentacion (revenge) [2016] ⭐

look at me! — xxxtentacion (revenge) [2016]

japanese denim — daniel caesar (acoustic break) [2016]

pumped up kicks — foster the people (torches) [2010]

bernie sanders — ugly god [2016]

i beat my meat — ugly god [2015]

マrイ·eハtートuをr返nす — iacon (不協和音 d i s s o n a n c e) [2015] ⭐

enjoy yourself — saint pepsi (late night delight) [2013] ⭐

off the wall — michael jackson (off the wall) [1979] ⭐

♡ music of april 2017 ♡

xxxanax — xxxtentacion (deleted files) [2014] 

take a step back — ski mask the slump god, xxxtentacion (drown-in-designer) [2016]

iloveitwhentheyrun — xxxtentacion, ski mask the slump god, yung bans [2015]

slmd remix (r.i.p. bernie mac) — ski mask the slump god (beware of the book named eli) [2017] ⭐

laffy taffy (remix) — ski mask the slump god (beware of the book named eli) [2016]

thedayyouleavethisplanetnobodywillnotice — bones [2016] ⭐

buttons — the pussycat dolls (pcd) [2005] ⭐

dark red — steve lacey (steve lacy’s demo) [2017] ⭐

maggots — bones (paidprogramming2) [2016] ⭐

nights on broadway — bee gees (main course) [1975]

is it a crime — sade (promise) [1985] ⭐

kitana — princess nokia (1992) [2016] ⭐

freddy vs. jason — xxxtentacion, ski mask the slump god (members only, vol. 1) [2015] ⭐

teeth (interlude) — xxxtentacion (heartbreak hotel) [2015]

caution — xxxtentacion [2015]

♡ music of may 2017 ♡

in for it — tory lanez (cruel intentions) [2015] ⭐

gassed up — nebu kiniza [2016]

hate sxng 1 — scarlxrd (cabin fever) [2017]

sweatin’ — scarlxrd (cabin fever) [2017]

garette’s revenge — xxxtentacion (17) [2017]

cold as ice — foreigner (foreigner) [1977] ⭐

macarthur park (cover) — donna summer (live and more) [1978]

it’s raining men… the sequel — martha wash, rupaul (rupaul’s go-go box classics) [1998]

crazy train — ozzy osbourne (blizzard of ozz) [1980]

♡ music of june 2017 ♡ 

glass and patron — fka twigs (m3ll155x) [2015] ⭐

swish swish — katy perry, nicki minaj (witness) [2017] ⭐

van vogue — azealia banks (1991) [2012]

macho man — village people (macho man) [1978]

and i am telling you i’m not going — jennifer holliday (dreamgirls: original broadway cast album) [1982] ⭐

spit it out — slipknot (slipknot) [1999]

conceited (there’s something about remy) — remy ma (there’s something about remy: based on a true story) [2006] ⭐

taken for granted — sia (healing is difficult) [2000]

buttons — sia (some people have real problems) [2008]

catch me outside — ski mask the slump god (beware of the book of eli) [2017]

i was made for lovin’ you — kiss (dynasty) [1979] ⭐

bad girls — donna summer (bad girls) [1979] ⭐

chi chi — azealia banks [2017] ⭐

dance in the dark (brit awards 2010 version) — lady gaga (the fame monster) [2009]

gravel to tempo — hayley kiyoko (citrine) [2016] ⭐

hoy quiero confesarme — isabel pantoja (marinero de luces) [1985]

pintame — elvis crespo (pintame) [1999]

ta’ pillao — las chicas del can (chicán) [1985] ⭐

♡ music of july 2017 ♡

who dat boy — tyler the creator, asap rocky (scum fuck flower boy) [2017]

wild thoughts — dj khaled, rihanna, bryson tiller (grateful) [2017]

club tropicana — wham! (fantastic) [1983]

where did i go? — jorja smith [2016] ⭐

sober — lorde (melodrama) [2017] ⭐

homemade dynamite — lorde (melodrama) [2017] ⭐

say sum — migos (no label iii) [2017]

reyup — travis porter (3 live krew) [2015]

fruit — abra (rose) [2015] ⭐

i ain’t got time! — tyler the creator (scum fuck flower boy) [2017] ⭐

when the world was at war we kept dancing — lana del rey (lust for life) [2017]

get free — lana del rey (lust for life) [2017] ⭐

labyrinth — mondo grosso, hikari mitsushima (reborn again and always starting new) [2017] ⭐

lava — zombie juice | flatbush zombies [2017] ⭐

copycat — billie eilish (don’t smile at me) [2017] ⭐

bodak yellow — cardi b [2017]

♡ music of august 2017 ♡

bloodshed — denzel curry (13) [2017] ⭐

roses xoxo — abra (roses) [2015] ⭐

interweb — poppy (poppy.computer) [2017]

deathmetal — bones (scumbag) [2013]

fuck you mean — meek mill, lil boosie [2014]

justlikemypiss — ski mask the slump god (you will regret) [2017] ⭐

gullah gullah island — silas, donchedidit (the day i died) [2015]

♡ music of september 2017 ♡

don’t let go (love) — en vogue (set it off: music from the new line cinema motion picture) [1996] ⭐

lay all your love on me — abba (super trouper) [1980] ⭐

break the ice — britney spears (blackout) [2007] ⭐

faded heart — børns [2017] ⭐

can u dig it — strap (don strap) [2016]

attention — charlie puth (voicenotes) [2017]

me against the music (kanye west remix) — britney spears, madonna (in the zone) [2003]

american money — børns (dopamine) [2015] ⭐

reminisce — mary j. blige (what’s the 411?) [1992] ⭐ 

rockstar — post malone, 21 savage (beerbongs & bentleys) [2017]

fantasy — earth, wind, & fire (all ‘n all) [1977] ⭐

♡ music of october 2017 ♡ 

jupiter — earth, wind & fire (all ‘n all) [1977] ⭐

serpentine fire — earth, wind & fire (all ‘n all) [1977]

your disco needs you — kylie minogue (light years) [2000] ⭐

must be the gangja — eminem (relapse) [2009]

intro: boy meets evil — j-hope | bts (wings) [2016] ⭐

no flockin — kodak black (heart of the projects) [2014] ⭐

hearts a mess — gotye (like drawing blood) [2007] ⭐

caribbean queen (no more love on the run) — billy ocean (suddenly) [1984] ⭐

lady marmalade — mýa, p!nk, lil’ kim, christina aguilera (moulin rouge! soundtrack) [2001] ⭐

♡ music of november 2017 ♡

...baby one more time — britney spears (...baby one more time) [1999] ⭐

what you waiting for? — gwen stefani (love. angel. music. baby.) [2004] ⭐

boombayah — blackpink (square one) [2016]

[thephotopitmagazine]

Every now and then you find an artist who has an album so sensational that you just can’t forget it. And when they can build upon that album to continue their legacy they become legendary. That’s exactly how I envision Queensrÿche. Their album Operation: Mindcrime from 1988 not only was a well written, story-driven phenomena, but it was also musically spectacular and become burned into every Queensrÿche fan. And that was only the beginning for the band. When I heard about their tour coming to The Plaza Live in Orlando, FL to continue support on their most recent album The Verdict, I had to be there. The buzz from friends clearly stated Queensrÿche was still a powerhouse band after all these years and a must-see live. My friends were absolutely correct.

Before we would get to our headliners, were had a different mix of two openers. First was the rock band Eve To Adam. Formed back in 1997 the band has been a solid rock force releasing 5 studio albums and 1 EP. They were no stranger to the Orlando crowd having played at multiple venues in town before and our one day festival Earthday Birthday. The band consisting of Taki Sassaris (vocals), Ilyn Nathaniel (bass), Jeff Raines (drums), and Ronny Gutierrez (guitar) came out to the stage hard and heavy with no stopping them. They played a short group of songs that included “No Easy Way Out” and “Immortal” and the crowd was loving them.

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Before the band wrapped their set, they brought up two representatives from 2vetsoam “On A Mission”. The organization works with helping raise awareness for veteran suicide and PTSD they also work to help veterans suffering from PTSD and homelessness. The group brought up a veteran named James who they explained finally got his hair cut, came out to a concert, and is starting to live his actual life. It’s awesome to see Eve To Adam working with an organization like this to help our veterans in need. You can find music and merch for Eve to Adam on their official website HERE.

Next up was John 5 and The Creatures. John 5 is best known for his work as Rob Zombie’s guitarist but has a very active solo career touring and in songwriting. He’s also written for various artists such as Motley Crue, Steve Perry, and Ricky Martin as well as performing guitars for Marilyn Manson. His discography of 11 albums is quite impressive. His most recent album Invasion released on July 31, 2019 to rave reviews from the media. Singles such as “Zoinks!” and “I Am John 5” grabbed the epitome of this album and the musical genius of John 5 and The Creatures. The band consists of John 5 (guitar), Ian Ross (bass), and Logan Miles Nix (drums).

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The turnaround between Eve To Adam and John 5 and The Creatures was probably one of the quickest set changes I’ve ever seen. With inflatables on stage giving it a very fun house type feel, John 5 and The Creatures hit the stage and immediately started “Crank It – Living With Ghosts”. The fans looked a little uncertain as to what they were hearing but those who knew John 5 were all into it as he ripped through these transcendental guitar riffs. It’s 6 plus minutes of guitar solo, bass and drum mixed in, and some almost EDM like catch-phrase (“Crank it!”) tracks. And this was just the start. Moving on to “Six Hundred and Sixty Six Pickers in Hell” from his 2014 album Careful With That Axe. The band delivered a high energy, fast-paced song, to the fans. I’m amazed on how John 5 moves so quickly through his notes sometimes while shaking his head throwing off makeup dust and other times drooling large strings of saliva on stage. Needless to say, those who never seen him before were probably very confused by the playful antics. They followed that up with “Zoinks!” from Invasion which has a great rhythm and blues feel. The video for the single has a little adult Scooby-Doo like story to it which is a must-see.

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Half-way through their performance, John 5 finally spoke to the crowd asking if they were having a good time. And he swore he would get everyone that was in the balcony on their feet before the end of their set. Things really started getting fun as balloons were thrown out into the crowd like beach balls to bat around the venue. When one made it back to the stage, John 5 would pop it with his guitar, which raised a cheer from the crowd. Seeing the reaction, he kept popping them until they were all gone. John 5 brought out his light up mouthpiece during the performance and his gorgeous lit up guitar that has individual small bright light bulbs throughout the entire guitar. It is an amazing piece of craftsmanship. When they performed “I Am John 5” from Invasion, three crew members came out on stage. Two of them were wearing outfits making it appear they were held by aliens while the third was dressed like a robot. The robot hung around John 5 every time the vocal track said “I am John 5”. They were going to perform “Cactus Flower” but the guitar for the song wasn’t cooperating. But, the piece that really hooked crowd was the instrumental medley at the end. Ian and Logan started off the bass and drum pieces to Rush’s “Limelight” and I nearly cried. And when John 5 brought in the guitar it was instrumental perfection. The transitioned it into Rush’s “Fly By Night” and the medley kept going. Everything from Rob Zombie to Nirvana to Marilyn Manson to Soundgarden to Pantera to Motley Crue the music just kept going and going! By the time they wrapped up, the entire balcony was on their feet and the entire venue applauded, cheered, and screamed in approval. What an amazing performance from John 5 and The Creatures that night.

You can find their music and merch HERE. Their setlist that night was:

Crank It – Living With Ghosts

Six Hundred and Sixty Six Pickers in Hell

Zoinks!

Hell Haw I.G.R.

Howdy

Season of the Witch

First Victim

The Black Grass Plague

I Am John 5

Catcus Flower – not performed but was on the setlist

Limelight / Fly by Night / Thunder Kiss ’65 / The Beautiful People / Spoonman / Dr. Feelgood / Unchained / I’m Broken / Walk/and more

Finally, onto our headliners Queensrÿche. The band’s roots go all the way back to the late 1970s where a few members met in Washington state. After a few years of working with other bands, they had formed together originally known as The Mob. The band recorded a 4 song demo that started to get shopped around. They soon learned the name The Mob was not available so they ended up using Queensrÿche after their single “Queen of the Reich”. The band was signed with EMI and released The Warning in 1984 and Rage for Order in 1987. While both albums did well for the band, neither had commercial success. It wasn’t until 1988 with Operation: Mindcrime where the band truly became renowned. With a phenomenal story and genius musical writing, the album was certified Platinum and received numerous accolades from the media. The single “I Don’t Believe in Love” was nominated for a Grammy. Their follow up Empire from 1990 sold over 3 million albums and had a #1 single in “Silent Lucidity”. The single was also nominated for a Grammy. The band continued to produce albums until 2012 where the band fired the original lead singer and replaced him with current vocalist Todd La Torre. The band released three albums with Todd as their vocalist including their most current album The Verdict which was released on March 1, 2019 and peaked at #16 on the Billboard 200 to very good reviews. Queensrÿche is Todd La Torre (vocals), Michael Wilton (guitar), Eddie Jackson (bass), Parker Lundgren (guitar), and Casey Grillo (drums).

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Queensrÿche decided to go way back in the discography to perform “Prophecy” off their 1983 self-titled EP. A fantastic kick-off to the show. The band was in sync and absolutely sounded amazing. And when they went into “Operation: Mindcrime” the title track from the 1988 album, I was taken back to the day when I saw them open for Def Leppard on the Hysteria tour. Todd was pitch-perfect, Eddie had the bass line down pat, Michael and Parker tore it up on guitar, and Casey thumped away on those drums. Just wow! Keeping the drive alive they went into “Walk in the Shadows” from Rage for Order. Queensrÿche was playing at such a high level I couldn’t wait to hear what the rest of the night was going to be like.

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Todd talked to the crowd during the performance explaining to the crowd they were wrapping up in Orlando in support of their album The Verdict and the band would be going for some old catalog tunes and will get to the fan favorites as well. And did they ever pull out some of the older great songs including “Take Hold of the Flame” from The Warning, “Screaming in Digital” from Rage for Order, and “Queen of the Reich” from the 1983 self-titled EP. And when Todd hit those notes in “Queen of the Reich” it was chilling. I literally had goosebumps running up my arm. Todd also asked how many people had not seen or heard Queensrÿche live and there was a surprisingly good amount of new fans there that night.

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Their performances of songs from The Verdict sounded stellar. I really enjoyed hearing “Bent”, which had an amazing harmony from Parker and Eddie on backing vocals, “Man the Machine” and “Dark Reverie”, such a beautifully haunting song, played live. And the band also included the favorites of “Silent Lucidity” and one of my personal favorites “Jet City Woman” from their 1990 album Empire. The band did perform an encore that included “No Sanctuary” from The Warning, “Light-years” from The Verdict, “Empire” the self-titled track from the 1990 album, and closed with “Eyes of a Stranger” from Operation: Mindcrime with “Anarchy-X” from the same album used as the outro. If you want to purchase music or merch from Queensrÿche you can find it at their website HERE. The band’s setlist that night was:

Prophecy

Operation: Mindcrime

Walk in the Shadows

Resistance

Man the Machine

Take Hold of the Flame

Bent

The Needle Lies

Dark Reverie

Breaking the Silence

Silent Lucidity

Jet City Woman

Screaming in Digital

Queen of the Reich

Encore:

No Sanctuary

Light-years

Empire

Eyes of a Stranger (with Anarchy-X as the outro)

Overall this was such an amazing concert by all three bands. But, Queensrÿche’s performance filled my heart with amazing music, filled my mind with wonderful memories, and provided some new songs to love. The performance was way beyond my expectations and hopes. I’m looking forward to the next time the come on tour. And, my wife and I are seriously looking at seeing them during their residency in Las Vegas over the summer! And if we make it out there, I absolutely know it will be worth every penny spent.

From The Pit To The Crowd: Queensrÿche with John 5 and The Creatures and Eve To Adam – The Plaza Live – Orlando, FL – February 27, 2020 Every now and then you find an artist who has an album so sensational that you just can't forget it.

[pinktheoristcollector]

“Truth Hurts,” singer-flutist-rapper Lizzo‘s 2017 sleeper hit, recently became Billboard‘s longest-running #1 rap song by a female artist, topping the Hot 100 list for seven weeks.

But with its newfound top-tier status has come increased scrutiny — and legal action. Like with many hits these days, from Robin Thicke and Pharrell Williams’s “Blurred Lines” to Katy Perry’s “Dark Horse” to Ed Sheeran’s “Thinking Out Loud,” the question of authorship and copyright infringement in music has become muddy. And as the cases have multiplied, many are jumping in to claim a piece of a song’s pie. Here’s what to know about Lizzo’s ‘Truth Hurts.’

Who are the people involved in the “Truth Hurts” case?

In the case of “Truth Hurts,” three main individuals have made headlines with an interest in establishing themselves on the songwriting credits. They include Mina Lioness, a singer who once tweeted the song’s now-infamous lyric, “I just took a DNA test and I’m 100% that b-tch,” in the spring of 2017, and two songwriting brothers, Justin and Jeremiah Raisen, who wrote a song demo called “Healthy” with Lizzo during a 2017 session.

I did a DNA test and found out I'm 100% that bitch.

— Legendina (@MinaLioness) February 25, 2017

What’s at stake?

Song royalties. With a big hit comes ongoing returns on the song’s profits. Plus, “Truth Hurts” is currently in Grammy contention.

Who may get to claim ownership of the signature ‘Truth Hurts’ lyric?

Simply put, it’s complicated. In order for someone to claim ownership of a phrase or lyric, they need to have established common law copyright over that piece of creative output. “If you draw a picture in the sand on the beach,” explains entertainment and media lawyer Jason Boyarski of New York-based firm Boyarski Fritz who have counted the Prince estate, Marc Anthony, Wycleaf Jean and Bhad Bhabie among their clients, “there’s technically a copyright for that picture. It’s creativity, it’s fixed in a medium. [It’s] common law copyright. It hasn’t been registered yet, but it could be protected.” In other words, it’s yours, and could be defensible in court if someone tried to sell it off as their own.

But it’s often harder to identify the creative distinction of a phrase. It has to meet two standards: it must rise to a “level of originality” that sets it apart, and it must have been used in the new work in a way that’s “substantially similar” to its original purpose. (For instance, you can’t just publish someone else’s photo in a book without giving them credit. But if you draw the scene depicted in that photo in a new, distinctive style and publish the drawing, then you’ve repurposed it in a way that no longer requires credit to the original photographer.) “Does a one-sentence tweet like that, as genius as the concept is, is it original enough to warrant copyright ability just as a sentence?” Boyarski wonders. “For a songwriter to be liable for some sort of infringement, it has to really rise to a level of really reaping where someone else has sown from an originality standpoint.”

In this case, Lioness’s claim may have held water — had she pressed it. “Had she lawyered up, there would be viable arguments on both sides,” suggests Boyarski; there is a case to be made in her favor for a common law copyright on the tweet’s contents. The Raisens, meanwhile, are claiming common law copyright on the lyric as it existed in the prior song they made with Lizzo; they’re arguing that the lyric as it existed in their session deserves its own form of protection, and are suggesting in social media that the melody and chords are also part of the copyright-able mix.

View this post on Instagram

The Truth about “Truth Hurts” On April 11th, 2017, we wrote a song called “Healthy” w/ Lizzo, Jesse St John, and Yves Rothman at our studio. “I just took a DNA test turns out I’m 100% that bitch” was taken from “Healthy” and used in “Truth Hurts”. We were never contacted about being credited for the use of the parts of “Healthy” (melody, lyrics, and chords) that appear in “Truth Hurts”. After reaching out to Ricky Reed and Lizzo’s team about fixing it, we put the song in dispute in 2017 when it came out. We’ve tried to sort this out quietly for the last two years, only asking for 5% each but were shutdown every time. Coming forward publicly to family, friends, artists, and colleagues seems to be the only way at this point in relieving some of our emotional distress caused by this. The last thing we want to do is throw any negativity toward Lizzo’s momentum and movement as a cultural figure. If we believe in what she’s preaching, believing in ourselves & our own voices is something we thought she’d understand. Shout out to the singer Mina Lioness ( @minalioness ) for tweeting “I just did a DNA test turns out I’m 100% that bitch”. A meme of that came up in our writing session & inspired the lyric and melody we wrote together. If Ricky and Lizzo’s team decide to settle this dispute with us, we would like to share some of the proceeds with Mina for her influence on Healthy. The clip below shows a video & photos from the day we wrote “Healthy” along with the comparisons between the two works. All the Love, Justin & Jeremiah Raisen #lizzo #truthhurts #healthy #billboard

A post shared by Justin Raisen (@justinraisen) on Oct 14, 2019 at 11:50pm PDT

How has Lizzo responded?

In a tweet this week, Lizzo confirmed that she’ll be offering Lioness a songwriting credit. “I later learned that a tweet inspired the meme [that inspired the lyric],” she shared. “The creator of the tweet is the person I am sharing my success with… not these men. Period.” She then filed suit against the Raisen brothers, according to Variety, claiming harassment.

pic.twitter.com/Q4AKIPhMiE

— #STREAMTRUTHHURTS (@lizzo) October 23, 2019

What’s next?

Either they will settle or continue to court. If it goes to court, Boyarski suggests the outcome is nowhere near clear; there isn’t a great deal of precedent on claims regarding lyrics, as most of the questions around songs have to do with chord progression and melody. (There may be an infinite number of ways to combine notes, Boyarski reminds us, but only a certain number of those combinations actually sound good to regular listeners — hence the ways that new music often sounds reminiscent of what we’ve heard before, regardless of the creator’s intent.) And so “Truth Hurts” may just continue to surprise us all.

Why does this case matter?

“From a macro standpoint, the ‘Blurred Lines’ case opened the floodgates to more voluminous litigation in connection with music publishing and songwriting,” Boyarski says. “It’s very dangerous ground right now for songwriters.” What happens with “Truth Hurts” will contribute to determining how future songwriters and collaborators pursue copyright claims. And just like we’ve seen a “chilling effect” on the music industry in the post-“Blurred Lines” decision, this could have a cascading effect as well. “Anybody can make a claim,” Boyarski says. “The question is, can lyrics of themselves… have that copyright ability?” We’ll have to see how it plays out.

[itsfinancethings]

October 24, 2019 at 08:30PM

“Truth Hurts,” singer-flutist-rapper Lizzo‘s 2017 sleeper hit, recently became Billboard‘s longest-running #1 rap song by a female artist, topping the Hot 100 list for seven weeks.

But with its newfound top-tier status has come increased scrutiny — and legal action. Like with many hits these days, from Robin Thicke and Pharrell Williams’s “Blurred Lines” to Katy Perry’s “Dark Horse” to Ed Sheeran’s “Thinking Out Loud,” the question of authorship and copyright infringement in music has become muddy. And as the cases have multiplied, many are jumping in to claim a piece of a song’s pie. Here’s what to know about Lizzo’s ‘Truth Hurts.’

Who are the people involved in the “Truth Hurts” case?

In the case of “Truth Hurts,” three main individuals have made headlines with an interest in establishing themselves on the songwriting credits. They include Mina Lioness, a singer who once tweeted the song’s now-infamous lyric, “I just took a DNA test and I’m 100% that b-tch,” in the spring of 2017, and two songwriting brothers, Justin and Jeremiah Raisen, who wrote a song demo called “Healthy” with Lizzo during a 2017 session.

I did a DNA test and found out I'm 100% that bitch.

— Legendina (@MinaLioness) February 25, 2017

What’s at stake?

Song royalties. With a big hit comes ongoing returns on the song’s profits. Plus, “Truth Hurts” is currently in Grammy contention.

Who may get to claim ownership of the signature ‘Truth Hurts’ lyric?

Simply put, it’s complicated. In order for someone to claim ownership of a phrase or lyric, they need to have established common law copyright over that piece of creative output. “If you draw a picture in the sand on the beach,” explains entertainment and media lawyer Jason Boyarski of New York-based firm Boyarski Fritz who have counted the Prince estate, Marc Anthony, Wycleaf Jean and Bhad Bhabie among their clients, “there’s technically a copyright for that picture. It’s creativity, it’s fixed in a medium. [It’s] common law copyright. It hasn’t been registered yet, but it could be protected.” In other words, it’s yours, and could be defensible in court if someone tried to sell it off as their own.

But it’s often harder to identify the creative distinction of a phrase. It has to meet two standards: it must rise to a “level of originality” that sets it apart, and it must have been used in the new work in a way that’s “substantially similar” to its original purpose. (For instance, you can’t just publish someone else’s photo in a book without giving them credit. But if you draw the scene depicted in that photo in a new, distinctive style and publish the drawing, then you’ve repurposed it in a way that no longer requires credit to the original photographer.) “Does a one-sentence tweet like that, as genius as the concept is, is it original enough to warrant copyright ability just as a sentence?” Boyarski wonders. “For a songwriter to be liable for some sort of infringement, it has to really rise to a level of really reaping where someone else has sown from an originality standpoint.”

In this case, Lioness’s claim may have held water — had she pressed it. “Had she lawyered up, there would be viable arguments on both sides,” suggests Boyarski; there is a case to be made in her favor for a common law copyright on the tweet’s contents. The Raisens, meanwhile, are claiming common law copyright on the lyric as it existed in the prior song they made with Lizzo; they’re arguing that the lyric as it existed in their session deserves its own form of protection, and are suggesting in social media that the melody and chords are also part of the copyright-able mix.

View this post on Instagram

The Truth about “Truth Hurts” On April 11th, 2017, we wrote a song called “Healthy” w/ Lizzo, Jesse St John, and Yves Rothman at our studio. “I just took a DNA test turns out I’m 100% that bitch” was taken from “Healthy” and used in “Truth Hurts”. We were never contacted about being credited for the use of the parts of “Healthy” (melody, lyrics, and chords) that appear in “Truth Hurts”. After reaching out to Ricky Reed and Lizzo’s team about fixing it, we put the song in dispute in 2017 when it came out. We’ve tried to sort this out quietly for the last two years, only asking for 5% each but were shutdown every time. Coming forward publicly to family, friends, artists, and colleagues seems to be the only way at this point in relieving some of our emotional distress caused by this. The last thing we want to do is throw any negativity toward Lizzo’s momentum and movement as a cultural figure. If we believe in what she’s preaching, believing in ourselves & our own voices is something we thought she’d understand. Shout out to the singer Mina Lioness ( @minalioness ) for tweeting “I just did a DNA test turns out I’m 100% that bitch”. A meme of that came up in our writing session & inspired the lyric and melody we wrote together. If Ricky and Lizzo’s team decide to settle this dispute with us, we would like to share some of the proceeds with Mina for her influence on Healthy. The clip below shows a video & photos from the day we wrote “Healthy” along with the comparisons between the two works. All the Love, Justin & Jeremiah Raisen #lizzo #truthhurts #healthy #billboard

A post shared by Justin Raisen (@justinraisen) on Oct 14, 2019 at 11:50pm PDT

How has Lizzo responded?

In a tweet this week, Lizzo confirmed that she’ll be offering Lioness a songwriting credit. “I later learned that a tweet inspired the meme [that inspired the lyric],” she shared. “The creator of the tweet is the person I am sharing my success with… not these men. Period.” She then filed suit against the Raisen brothers, according to Variety, claiming harassment.

pic.twitter.com/Q4AKIPhMiE

— #STREAMTRUTHHURTS (@lizzo) October 23, 2019

What’s next?

Either they will settle or continue to court. If it goes to court, Boyarski suggests the outcome is nowhere near clear; there isn’t a great deal of precedent on claims regarding lyrics, as most of the questions around songs have to do with chord progression and melody. (There may be an infinite number of ways to combine notes, Boyarski reminds us, but only a certain number of those combinations actually sound good to regular listeners — hence the ways that new music often sounds reminiscent of what we’ve heard before, regardless of the creator’s intent.) And so “Truth Hurts” may just continue to surprise us all.

Why does this case matter?

“From a macro standpoint, the ‘Blurred Lines’ case opened the floodgates to more voluminous litigation in connection with music publishing and songwriting,” Boyarski says. “It’s very dangerous ground right now for songwriters.” What happens with “Truth Hurts” will contribute to determining how future songwriters and collaborators pursue copyright claims. And just like we’ve seen a “chilling effect” on the music industry in the post-“Blurred Lines” decision, this could have a cascading effect as well. “Anybody can make a claim,” Boyarski says. “The question is, can lyrics of themselves… have that copyright ability?” We’ll have to see how it plays out.

[hellofastestnewsfan]

“Truth Hurts,” singer-flutist-rapper Lizzo‘s 2017 sleeper hit, recently became Billboard‘s longest-running #1 rap song by a female artist, topping the Hot 100 list for seven weeks.

But with its newfound top-tier status has come increased scrutiny — and legal action. Like with many hits these days, from Robin Thicke and Pharrell Williams’s “Blurred Lines” to Katy Perry’s “Dark Horse” to Ed Sheeran’s “Thinking Out Loud,” the question of authorship and copyright infringement in music has become muddy. And as the cases have multiplied, many are jumping in to claim a piece of a song’s pie. Here’s what to know about Lizzo’s ‘Truth Hurts.’

Who are the people involved in the “Truth Hurts” case?

In the case of “Truth Hurts,” three main individuals have made headlines with an interest in establishing themselves on the songwriting credits. They include Mina Lioness, a singer who once tweeted the song’s now-infamous lyric, “I just took a DNA test and I’m 100% that b-tch,” in the spring of 2017, and two songwriting brothers, Justin and Jeremiah Raisen, who wrote a song demo called “Healthy” with Lizzo during a 2017 session.

I did a DNA test and found out I'm 100% that bitch.

— Legendina (@MinaLioness) February 25, 2017

What’s at stake?

Song royalties. With a big hit comes ongoing returns on the song’s profits. Plus, “Truth Hurts” is currently in Grammy contention.

Who may get to claim ownership of the signature ‘Truth Hurts’ lyric?

Simply put, it’s complicated. In order for someone to claim ownership of a phrase or lyric, they need to have established common law copyright over that piece of creative output. “If you draw a picture in the sand on the beach,” explains entertainment and media lawyer Jason Boyarski of New York-based firm Boyarski Fritz who have counted the Prince estate, Marc Anthony, Wycleaf Jean and Bhad Bhabie among their clients, “there’s technically a copyright for that picture. It’s creativity, it’s fixed in a medium. [It’s] common law copyright. It hasn’t been registered yet, but it could be protected.” In other words, it’s yours, and could be defensible in court if someone tried to sell it off as their own.

But it’s often harder to identify the creative distinction of a phrase. It has to meet two standards: it must rise to a “level of originality” that sets it apart, and it must have been used in the new work in a way that’s “substantially similar” to its original purpose. (For instance, you can’t just publish someone else’s photo in a book without giving them credit. But if you draw the scene depicted in that photo in a new, distinctive style and publish the drawing, then you’ve repurposed it in a way that no longer requires credit to the original photographer.) “Does a one-sentence tweet like that, as genius as the concept is, is it original enough to warrant copyright ability just as a sentence?” Boyarski wonders. “For a songwriter to be liable for some sort of infringement, it has to really rise to a level of really reaping where someone else has sown from an originality standpoint.”

In this case, Lioness’s claim may have held water — had she pressed it. “Had she lawyered up, there would be viable arguments on both sides,” suggests Boyarski; there is a case to be made in her favor for a common law copyright on the tweet’s contents. The Raisens, meanwhile, are claiming common law copyright on the lyric as it existed in the prior song they made with Lizzo; they’re arguing that the lyric as it existed in their session deserves its own form of protection, and are suggesting in social media that the melody and chords are also part of the copyright-able mix.

View this post on Instagram

The Truth about “Truth Hurts” On April 11th, 2017, we wrote a song called “Healthy” w/ Lizzo, Jesse St John, and Yves Rothman at our studio. “I just took a DNA test turns out I’m 100% that bitch” was taken from “Healthy” and used in “Truth Hurts”. We were never contacted about being credited for the use of the parts of “Healthy” (melody, lyrics, and chords) that appear in “Truth Hurts”. After reaching out to Ricky Reed and Lizzo’s team about fixing it, we put the song in dispute in 2017 when it came out. We’ve tried to sort this out quietly for the last two years, only asking for 5% each but were shutdown every time. Coming forward publicly to family, friends, artists, and colleagues seems to be the only way at this point in relieving some of our emotional distress caused by this. The last thing we want to do is throw any negativity toward Lizzo’s momentum and movement as a cultural figure. If we believe in what she’s preaching, believing in ourselves & our own voices is something we thought she’d understand. Shout out to the singer Mina Lioness ( @minalioness ) for tweeting “I just did a DNA test turns out I’m 100% that bitch”. A meme of that came up in our writing session & inspired the lyric and melody we wrote together. If Ricky and Lizzo’s team decide to settle this dispute with us, we would like to share some of the proceeds with Mina for her influence on Healthy. The clip below shows a video & photos from the day we wrote “Healthy” along with the comparisons between the two works. All the Love, Justin & Jeremiah Raisen #lizzo #truthhurts #healthy #billboard

A post shared by Justin Raisen (@justinraisen) on Oct 14, 2019 at 11:50pm PDT

How has Lizzo responded?

In a tweet this week, Lizzo confirmed that she’ll be offering Lioness a songwriting credit. “I later learned that a tweet inspired the meme [that inspired the lyric],” she shared. “The creator of the tweet is the person I am sharing my success with… not these men. Period.” She then filed suit against the Raisen brothers, according to Variety, claiming harassment.

pic.twitter.com/Q4AKIPhMiE

— #STREAMTRUTHHURTS (@lizzo) October 23, 2019

What’s next?

Either they will settle or continue to court. If it goes to court, Boyarski suggests the outcome is nowhere near clear; there isn’t a great deal of precedent on claims regarding lyrics, as most of the questions around songs have to do with chord progression and melody. (There may be an infinite number of ways to combine notes, Boyarski reminds us, but only a certain number of those combinations actually sound good to regular listeners — hence the ways that new music often sounds reminiscent of what we’ve heard before, regardless of the creator’s intent.) And so “Truth Hurts” may just continue to surprise us all.

Why does this case matter?

“From a macro standpoint, the ‘Blurred Lines’ case opened the floodgates to more voluminous litigation in connection with music publishing and songwriting,” Boyarski says. “It’s very dangerous ground right now for songwriters.” What happens with “Truth Hurts” will contribute to determining how future songwriters and collaborators pursue copyright claims. And just like we’ve seen a “chilling effect” on the music industry in the post-“Blurred Lines” decision, this could have a cascading effect as well. “Anybody can make a claim,” Boyarski says. “The question is, can lyrics of themselves… have that copyright ability?” We’ll have to see how it plays out.

  from TIME https://ift.tt/2N9C0ZY

[riffrelevant]

(By Pat ‘Riot’ Whitaker, Lead Journalist/Writer, RiffRelevant.com)

Musician Dan Lorenzo (guitarist) was a highly integral component to many of my own earlier, formative music years. His song writing abilities and guitar playing talent were the creative catalyst for the legendary Eighties power metal / thrash band Hades. In that band he helped pioneer the music and sound of the East Coast’s own take on underground music.

Active for over twenty years, Hades released six revered official albums and myriad singles and splits, while also being included on numerous compilations. The band holds a highly revered place in the heads and hearts of metal lovers both old and new to this very day. From Hades, Dan’s creative Jones led to the formation of the amazing Non-Fiction, a band that was quite ahead of its time in my opinion.

Non-Fiction‘s early Nineties existence resulted in three incredible, forward thinking studio releases (1991’s Preface, 1992’s In The Know and 1996’s It’s A Wonderful Lie…). The band’s take on darker progressive metal registered quite well with listeners and fans. It was another so-called feather in the cap for the artistry that Dan Lorenzo encapsulates.

Lorenzo In NON-FICTION

During the early to mid 2000’s, Dan worked as a solo artist and released three phenomenal full-length albums and one EP. On these, he explored a vast swath of differing styles of music and blurred the lines for those obsessed with genre-labeling. Before that decade was over, Lorenzo was part of The Cursed alongside fellow New Jersey staple, Bobby “Blitz” Ellsworth (Overkill). Their one and only album to date thus far, 2007’s Room Full Of Sinners, was another landmark where Dan’s creative prowess was displayed.

Now it is 2017 of course and recently, news broke about a new project that Dan Lorenzo is part of. From far out of left field comes the revelation of Vessel Of Light, Dan’s new musical partnership with Nathan “Opposition” Jochum of Ancient VVisdom. As unlikely a pairing that anyone could imagine, Vessel Of Light‘s debut single “Meant To Be” (streaming below) is a somber descent into heavy Doom music with psychedelic, sludge and atmospheric nuances. The duo’s self-titled debut EP will be released through Argonauta Records on November 3rd and promises to be one of the year’s most intriguing offerings.

So, as a long, long time fan and appreciator of all that is Dan Lorenzo musically, I was recently given the opportunity to speak with him. It goes without saying that I jumped into such an exchange without hesitation for Dan really is a major component within several musical outlets that have (and do) mean so much to me. Without further ado, let’s get to the goods that got us here, shall we? It is my pleasure to present you….

The Riff Relevant Interview With Dan Lorenzo!

Pat Riot – Vessel Of Light. Your new project with Nathan Opposition..how did this project come about? You two seem an unlikely pairing as you all are coming from much different musical backgrounds (outside looking in anyway) so who did what, or brought what to the table, in VOL?

Dan – Back in December I was in Austin, Texas. Before I went, my wife was listening to a lot of stoner rock. Neither my wife nor I drink or smoke, but we both like Sabbath-y types of riffs. I Googled “Austin stoner rock” and came upon the video “The Opposition” by the band Ancient VVisdom. I had never heard of them and I rarely like “new” music. At first I was taken aback by the lyrics. I go to church and I have a Jesus tattoo and they were singing Satanic lyrics. I literally watched this video 10-15 times over the next two days. I consider “The Opposition” to be one of the top 20 greatest songs of all-time. I tried to figure out what label Ancient VVisdom were on or a contact address, but I couldn’t find anything. I’m not on Facebook. Eventually I found an email and I wrote saying how much I loved their song and Nathan Opposition wrote me back. I mentioned them in a NJ magazine I write for called Steppin’ Out. I mailed Nathan a copy of the magazine and a HADES and THE CURSED CDs. We spoke on the phone and hit it off. Then one day I got an email from Nathan about the new project he and I were starting! I had no idea what he was talking about as this was never discussed (laughs). I couldn’t say “no” to his idea though. I have hundreds of riffs and I started mailing Nathan some of them.

Pat Riot – What can music fans and listeners expect from the debut album? Do you think it will appeal to your own fans as well as those of Nathan’s?

Dan – Do I  have any fans? (laughs) Yeah, if people liked my riffs in Non-Fiction and The Cursed, they will be happy. Nathan’s fans will love it too.

Pat Riot – How did the label deal with Argonauta Records materialize? Can we expect to see VOL play some live gigs at any point?

Dan – I was about to leave for a vacation in Hawaii. Right before I left I was trying to find a doom label and I came across Argonauta. I sent an MP3 to Brian Slagel [Metal Blade] and Argonauta and nobody else. I was at the airport suffering through a United Airlines 12 hour delay and Argonauta wrote me that they were interested in signing us. Gero and I sent a few e-mails back and forth and that was it. As far as live gigs before we got signed I said “No way”…now I want to do some shows.  Pat Riot – In the mid-2000s you independently released a string of solo albums (3 full lengths/1 EP)..how were those received in your opinion? As both a solo artist and member of some major legacy-type acts / bands, do you have a preference for one over the other (i.e. solo vs. member of band) and if so, why?

Dan – They are both fun. My whole thing is I despise repetition. My solo stuff was a way to get 30 songs out in 13 months without having more than a couple of rehearsals. Nathan and I only had two rehearsals and then we spent a whopping seven hours in the recording studio recording 6 Vessel Of Light songs. Five days later we had a record deal. That kind of spontaneity is incredibly appealing to me. How were my solo CDs received? With contempt! (laughs) No, the “right” people loved my solo work. Bobby Blitz, Peter [Fletcher, guitarist] from Pigmy Love Circus. Cool people with good taste! (I’ll definitely take THAT as a compliment, ha! – Pat)

Pat Riot – Speaking of “legacy acts”..Hades. This year makes 35 years since the “Deliver Us From Evil” single surfaced, where it all started for Hades. Looking back, what’s your take away from it now, knowing what place Hades holds in the hearts of so many metal fans?

Dan – Oh wow! That was 35 years ago. Damn. It’s nice honestly. Dark Symphonies out of Massachusetts is re-releasing our first two CDs with Demos never released on CD and 20 page booklets inside. Hades was my first love so it will always be special to me.

Pat Riot – Hades’ last studio LP was 2001’s “DamNation” and while I know you are just one member of Hades, has there ever been any serious discussion of a reunion or new record? Dan – Nope. It’s over. I’m still friendly with the guys though and Jimmy Schulman might play bass for VOL live. Pat Riot – Dan, what was the catalyst event be it band, album, concert, etc. that ignited your interest in music as a youth? Who would you cite as some of your primary influences and what did you yourself learn or pick up from them? 

Dan – Ace Frehley of Kiss and Joe Perry of Aerosmith. I play nothing like Joe. My few solos are very Ace-like.

Pat Riot – Now, let’s hit upon 2 absolute favorites of mine: First..Non-Fiction. To me, NF was quite progressive in style and really ahead of its time I believe. What fueled the formation of Non-Fiction?

Dan – Trying to be the exact opposite of Hades. Non-Fiction were spontaneous. We took risks. I would write a riff in the dressing room before the show and then we might use that riff as the opener for that night. So much fun. We rarely rehearsed and when we did it was to write new songs. I fucking loved being in Non-Fiction. It was way more fun and way more “me” than Hades was. Pat Riot – And what ultimately led to the demise of Non-Fiction? I learned something in researching for our exchange here that I did not know, that a S/T EP was issued featuring Dan Nastasi (of Mucky Pup, whom I love) on vocals.

Dan – We came home from our 1993 European tour with Overkill and Savatage and things seemed to be moving backwards. Plus I fell in love with a girl named Gina. I was so poor that one day I couldn’t find a quarter for a bagel. I was so bummed. I knew I needed to get a job and I knew that would be the end of Non-Fiction. After that Nastasi and I reunited the original Non-Fiction line-up and called it #9. We got a deal with SPV. We were starting to record and Nastasi got a solo deal and his manager put the kabosh on #9. There is one rough mix from those recordings on my website. The song is called The Story Goes. #9 were the shit. So fucking bad ass. 

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THE CURSED

The Cursed ‘Room Full Of Sinners’

Pat Riot – The Cursed. ‘Room Full Of Sinners’ is such a genre-diverse record..how did that project come to be? What kind of feedback have you gotten over the years since that LP was released? 

Dan – Well Blitz was a fan of my first solo cd and we always hit it off. It was weird because I’m not a huge fan of Overkill, but when he started writing to my riffs I realized how incredibly talented Blitz actually is. I think a lot of people loved our CD together, but I think Bobby felt a lit bit uncomfortable promoting it because at that time Overkill was starting a resurgence. All thanks to me getting Ron Lipnicki in the band! ( laughs).Pat Riot – I interviewed Blitz earlier this year and specifically asked about a possible 2nd LP from The Cursed ever happening. He lovingly passed the buck by saying “never say never” but also made clear it was not really his call. What say YOU? Dan – I would have done one, but like I said, Blitz…he didn’t even want me to pay to have a video done for The Cursed, so I’m not going to spend my time writing/rehearsing and recording something I can’t even promote when it’s done. We have a 4 song demo we recorded for The Cursed before we did Room Full Of Sinners. My wife’s favorite song by The Cursed is Lucifiction on that demo. It’s never been released. I would love for Blitz to tell me he wants to re -release the whole thing and include a new song or two. I think we write very well together. (For the record, literally, my fave is “Native Tongue”. – Pat)Pat Riot – OK, Dan..had you not been in Hades, Non-Fiction, The Cursed, Vessel Of Light, etc…what band throughout all of Rock / Metal History would you have liked to been in and why? 

Dan – I’d love to take Malcolm’s spot with Bon Scott era AC/DC or maybe The Plasmatics guitarist during A Coup De’ Etat.

Pat Riot – Outside of music, what type of things do you enjoy doing in your “normal, every day life” i.e. hobbies, travel, etc.?

Dan – I play pick-up basketball 4 days a week during the summer. Gina and I have been happily married twenty years and we love to travel. Pat Riot  – I have a tradition of ending interviews with the subject having the final say. Anything you’d like to say, share, state for the record, rant, what have you, this is all you:

Dan – I really wish people would stop smoking cigarettes. It’s expensive, ages you and is disgusting!

There you go, people…Be like Dan and do your smoking on the frets of a guitar! I want to wind down here be saying what a pleasure it was speaking with Dan Lorenzo, a musician whose music via multiple projects has been a staple of my own musical fanaticism for years. Thank you, Dan!

Now, we stand at the precipice of a whole new era of music from Dan via the upcoming Vessel Of Light S/T release (via Argonauta Records Nov. 3rd). My own review of that is coming soon but I’ll go on the record now saying it is going to surprise and astound listeners, and fans of Dan’s both. To keep up with all things Dan Lorenzo, visit his website and Instagram, along with Vessel Of Light’s Facebook page (linked below).

DanLorenzo.net   /   Dan Lozenzo on Instagram Vessel Of Light’s Facebook page.

Argonauta Records website.

  The DAN LORENZO (Vessel Of Light, Hades, Non-Fiction, Etc.) Interview (By Pat 'Riot' Whitaker, Lead Journalist/Writer, RiffRelevant.com) Musician Dan Lorenzo (guitarist) was a highly integral component to many of my own earlier, formative music years.

[elisesole]

Popular makeup artist faces social media firing squad after Pennywise demo

Makeup artist James Charles’ Pennywise makeup tutorial didn’t go over so well. (Photo: Youtube)

A makeup artist who gave the film It a thumbs-down, is telling fans to “get over it” after catching major heat for his Pennywise makeup tutorial.

James Charles, 18, is a New York-based makeup artist who broke ground by becoming CoverGirl’s first ‘CoverBoy’ in November after his senior class photo, which he posted on Instagram, went viral. Since starring in the makeup brand’s So Lashy campaign along with Katy Perry and Sofia Vergara, he’s shot to fame, and as such, his 2.5 million Instagram followers scrutinize his every move.

So when Charles posted his latest makeup tutorial — a glam take on Pennywise, the clown — with a controversial disclaimer, fans didn’t take it well.

“I know everybody is going to say this is the most hypocritical, ironic video of 2017 so far and you’re probably right,” Charles said in the October 2nd YouTube demo with more than half a million views. “It would be way too good of an opportunity to pass up. Even though I personally did not enjoy the movie, Pennywise was the best. I feel like literally everyone right now with a blending brush and some form of red lipstick is creating their own Pennywise look, which is literally so, so cool to see everybody’s own interpretations, and of course, I had to do it.”

Accusations came fast and hard. “When you drag the movie but then use it for views because you’re falling off,” One YouTube fan wrote, while another stated, “And why even make this video? for views, for money? you said you hated the movie, why make a tutorial on something you don’t support? Oh, because you don’t care about your fans, you care about money. Gbye.”

The backlash caused James to pen a defense Sunday night writing on YouTube, “I stand behind what I said about this movie, which is that I hated it. You don’t have to like a movie to do a tutorial on a look from it, & being that it’s the most popular movie right now, it would be dumb of me to not do a tutorial. Get over it,” with a red balloon emoticon.

YOU’LL FLOAT TOO tutorial is now live on my channel! link in bio hehe ____ #morphebrushes 35O2 palette (launching 10/12) #makeupforever HD foundation #katvondbeauty white out concealer #sugarpill tako single shadow #ofracosmetics Honolulu liquid lipstick

A post shared by James Charles (@jamescharles) on Oct 8, 2017 at 12:07pm PDT

A photo of the completed Pennywise look fared no better on Instagram, where people wrote, “How you gonna bash a movie n then do a tutorial on a character” and “Didn’t you tweet about how much you hated the movie??? Hypocrite.”

However, James had plenty of support from fans who drew a line between art and personal taste. And many tweeted their own Pennywise interpretations inspired by Charles, in support of the teen.

pennywise look inspired by @jamescharles pic.twitter.com/3ugFZavuXK

— spooky sierra (@sierrastrat) October 8, 2017

I actually got scared doing this but it was too good not to try @jamescharles pic.twitter.com/Y7IGYVgjdY

— Wendy Fain (@wendy_fain) October 9, 2017

who made it better? retweet for @bretmanrock and like for @jamescharles ❤️ pic.twitter.com/pH8y4HIdQq

— Blisstina (@chrstngante) October 7, 2017

Charles had warned fans ahead of time that his latest look may cause drama, tweeting the below meme, suggesting he would profit from the backlash.

me sleeping next week when my IT tutorial goes live & half of the views are from angry stans calling me a hypocrite bc I said I hated it pic.twitter.com/bpqfCBvZ7N

— James Charles (@jamescharles) October 7, 2017

Charles didn’t return Yahoo Lifestyle’s request for comment. But it’s safe to say when art stirs strong emotion, it’s a success.

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Follow us on Instagram, Facebook, and Twitter for nonstop inspiration delivered fresh to your feed, every day.

[caredogstips]

6 Far-famed Rooms From Movies( That Spoilt The Owners’ Lives)

When love get super into a movie or Tv establish, they typically dress up as their favorite personas and hit up their neighbourhood convening — in which client, the only martyr of Hollywood’s seductive siren song is said fan’s wallet. But that’s merely the ordinary rank of infatuation. When fandom reaches Single White Female ranks, on the other hand, we get entertaining and/ or depressing yarns like these …

# 6. The Breaking Bad Creator Asks Follower To Stop Throwing Pizza On Walt’s Roof

” Breaking Bad followers remain hurling pizza on someone’s roof” is a bizarre sentence to type, but a bunch of you know exactly what we’re talking about. If you don’t, there’s a far-famed background in the show in which Walter White goes “re pissed at” his wife and throws a pizza over his own roof.

Toss a pizza in the air, and Emmys rain from the sky. It’s the law of television .

Hilariously, the pizza stayed there for various chapters, essentially becoming a brand-new character in the demonstrate. You know what’s not humorous, though? When literally anybody else does it. When a bunch of drink frat boys roll up to the very real New Mexico home and lob red-hot cheese pies at the roof, it’s not a joke; it’s trespassing and vandalism. If you do this, Breaking Bad developer Vince Gilligan personally thinks you’re a prick, pizza-slinging guy.

“Aw drivel, what am I gonna do with a pizza now? ” — a demon

This “joke” got so out of control that actor Jonathan Banks( who plays the sexagenarian hitman Mike) threatened to “hunt down” those who did this. That’s an outcome the home’s owner is frantic to experience, judging from this clue TAGEND Although that’s precisely what person privately cooking meth would say .

At least some followers seem to have gotten the message and are learning less invasive ways to get their damn pizza ceiling photos.

“Thanks, but maybe you should do some other situation, like going dissolved in acid maybe.”

# 5. The Owner Of The Goonies House Becomes A Reluctant Hermit

You grab your Wheaties container and sit down to breakfast. You gaze out the window at the clearly defined and sunny morning … and then you see it. A man, his shirt pulled up to his chin, shaking his flabby belly all over your front ground. He is, without a doubt, 30 years old. Throughout the day, more souls start, of all sizes and conditions, all pulling their shirts up and waggling their guts. All of them, indisputably, 30.

This, all day, every day .

This was the existence of the owner of the Goonies house. When she originally obtained the home over 10 years ago, visits were few and far between, so she was more than happy to invite beings inside for a speedy tour at the time. But with the coming into effect of Twitter and the upcoming remake of the 1980 s classic, unannounced calls increased substantially — to the tune of thousands of belly-dancing 30 -somethings a daytime. To represent questions worse, the city officials themselves supported this awkward behavior, to the chagrin of the unhappy homeowner.

Tired of the endless ocean of tourists, the owner ultimately walled herself away from “the worlds”, putting up whale blue tarps to hide her famous house and setting up clues trying to convey her pathetic surface of the story.

“Please, pectin now fetches me to tears.”

Apparently, overgrown children with an undying passion for ‘8 0s nostalgia usurped it was their advantage — nay, their right — to have unlimited access to this poor woman’s residence. Above all, Goonies never say “re growing up” and stop watching kids’ movies.

# 4. Beings Keep Ghost-Hunting At The Conjuring House

Everybody enjoys a good terrifying floor, but nothing am willing to live in one. Regrettably for the recipients of the members of this house put forward in The Conjuring , that’s exactly what happened to them when their home unexpectedly became far-famed for being full of haunts( according to a “based on real events” movie about two uncovered fraudsters, regardless ).

For months, the poorest of the poor elderly duet endured trespassers traipsing through their ground searching for the souls of the dead they presupposed must inhabit this peaceful British dwelling, simply since they are determined it in a movie once. The detail that the people who’ve lived there for decades say that they’ve never seen a soul didn’t seem to deter them. It’s not like they shot the movie there; the real neighbourhood doesn’t even look like the create they used.

“Holy shit, it’s a reptilian shapeshifter very! ”

The real fear here is being in your 70 s and constantly having flashlights glint through your spaces at three in the morning. That’s heart-attack-inducingly panicking at any age, which is a potentially huge problem, to review the gentleman who is resident in the members of this house actually has a center health . If there isn’t a specter there now, there might be at some detail because of these assholes. The harried pair regularly had to break the news to hopeful devotees that The Conjuring was just a movie and their home is just a room, merely to have brand-new visitors show up the following week. That’s worse than any curse Hollywood could think up.

When people weren’t peeping in the couple’s spaces, the latter are announcing the couple on the phone and uploading YouTube videos of their illegal tours of the home. Often, the poorest of the poor homeowners had no idea the interlopers had been present on their grounds until the videos demo up online.

Thankfully, The Cumjuring porn lampoon was filmed elsewhere .

But at least the elderly duo doesn’t have any gullible young children … unlike the inhabitants of the Haunting In Connecticut dwelling. In their occurrence, beings would barge up to the front doorway in order to tell the young ones living inside that their live was entirely recurred, because they’re not the ones who are gonna “re going to have to” calm down the calling little critters afterward.

“That’s claim, supernatural occasions prevail. Except Santa. He’s forgery as hell.”

# 3. Copulation And The City Devotees Have Destroyed All Happiness

Despite all the hate spewed at Sarah Jessica Parker every time an Internet angel gets its fedora, Sex And The City was and still is a hugely popular TV see. The first follow-up movie obliged $57 million in its first weekend, while the show’s initial sale into syndication guided TBS $ 700,000 per chapter . That’s enough to actually have sex with everyone in the city, we’re pretty sure.

Clearly, Carrie Bradshaw and her gal buddies are a hot commodity. So it only constitutes sense that Carrie’s swanky townhouse would be a piece of prime belonging unless it is real. Which, of course, it wholly is TAGEND Unfortunately for the also-real people who live there .

After the film’s release in 2008, throngs of rabid devotees traveled to Perry Street to plow an average vicinity like it was a Disney World attraction. While the tours facilitated boost sales in neighbourhood stores and bakeries, love were so rude that they would litter wall street with cupcake liners after recreating that iconic background in which Carrie and Miranda gobble cupcakes on a bench. You know the one. No? Neither do we, but something tells us it was both fornication and municipality as all fuck.

Practical use for a butt pack #37: portable trashcan

This blatant disregard for Mother Earth get so out of hand that one neighborhood occupant described wall street as a “hellhole, ” while another took to sitting outside her apartment and hollering “Idiot! ” at anyone who would listen, because she is the hero we deserve. Seriously, if she was digitally inserted into every escapade, we’d actually watch this show.

Eventually, the Perry Street holders won their hard-fought combat and had their street collected from the show’s tours. The cupcake zombies moved on to infect other regions of New York, eventually committing those people some armistice. That is, until SJP started a new shoe text, and guess where she decided to promote it?

We’re no manner experts, but a line of single shoes seems kinda stupid. You usually necessary at the least two .

Just when they conceived “peoples lives” were back to normal, Parker waltzed right back into them for the purposes of an unauthorized photo shoot on the steps of the place she formerly announced pretend-home — discounting a “do NOT go on staircase please” clue the owners had to install. Perhaps she didn’t see it? Yeah, that’s perhaps it. She absolutely missed the signed while taking a picture of it.

Putting a chain around a lieu typically represents “please come here and mess up all our shit.”

# 2. The Person Who Preserve The Jersey Shore House Had To Repaint It On A Weekly Basis

This might come as a surprise to you, but it is about to change that die-hard followers of Jersey Shore are various kinds of douchey. Not satisfied with simply taking ghastly selfies in front of the members of this house where Snookie slept, these super devotees wanted to leave a part of themselves behind, celebrating up the walls with memoes to the shed. The casting that only lived there for two months a year.

That’s what you get for unleashing “The Situation” on an gullible commonwealth .

They even took pieces of the house home with them, rending off chunks of the ceiling, walls, and whatever they could get their grubby fingers on to ensure they had a permanent slouse of video disaster record forever in their homes.That’s about as stylish as taking some goop from the Chernobyl nuclear plant, and possibly about as toxic.

The owneds have clarified that they’re not liable for any bacterial warfare agents these parties might catch as a result .

The house was meant to be rented out in the off-season, but the realty firm had to pay for weekly upkeep and repainting in order to keep the place searching respectable. They also had to hire protection to prevent away the multitudes of coconut-oil-smelling vandals. While the display was in make, upkeep tariffs fell to the show’s producers, but that gravy train derailed years ago. Then again, the owners charge $ 2,500 for a one-night stand in this perfectly median residence, so perhaps they’ll manage to get ahead after all.

# 1. The Mrs. Doubtfire House Had A Unending Shrine To Robin Williams In Its Yard

The world was dazed when we lost the paragon of childhood slapstick last year. And naturally, followers seemed the need to gather together to comfort one another through their shared loss. Unfortunately for one 79 -year-old man, hundreds of them decided to band together outside his San Francisco home — the house stimulated eternally famed for being visible for a few minutes in Mrs. Doubtfire .

On the report of Robin Williams’ passing, fans gathered outside the residence to pile stacks of heydays, slides, and movie memorabilia in affection reminiscence of their favorite wacky performer. The problem is that the piles originated so high-pitched that it became literally impossible to leave the house via the figurehead door.

Built-in zombie/ Jehovah’s Witness/ Avon Lady deterrent, though. So, upside .

This year, the front doorway remained accessible, but heartbroken followers are still coming to scribble all over the sidewalk and rock-and-roll garden-variety instead.

Even the Smurfs were sad about Williams .

In spite of it all, the homeowner( who is a retired surgeon) “ve never” mentioned a single disparaging observe about the commemorations and never-ending sea of love. But how could he, right? You can’t be the person who alleges, “Walking out my entrance to a enshrine for a beloved dead performer various kinds of blows sometimes, you guys” without immediately being branded an asshole for life. On surface of everything, he had to deal with a disgruntled ex-patient of his setting fire to his garage, which is like the plan of one of the more upsetting Williams movies( you know, like Old Dogs ).

By comparison, the Mork And Mindy mansion, and even Williams’ own home, are left nearly completely alone.

Vietnam remains largely unchanged, more .

The obvious respect for the Williams family’s privacy is a wonderful thing to see. Maybe the same courtesy should be extended to the person in the Mrs. Doubtfire residence. There’s always that bench in Boston.

Read more: www.cracked.com

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