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angrylizardjacket · 6 years ago

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and then there was light [4] {Roger Taylor}

A/N: 5060 words. part 4? part 4. it’s a bit of a darker one and before you ask, there will be a part 5, you know i wouldn’t end it on a cliffhanger and do you dirty like that.

[part 1] [part 2] [part 3]

The moment Roger steps foot into the meeting about the design of the shows for the upcoming American legs of the ‘Night at the Opera’ world tour, he’s pretty sure he’s already mentally checked out. Freddie’s doing all the talking, to literally no-one’s surprise; the man has big ambitions for his own costumes, and knows the other guys will pipe up about their own needs when they get to meet with just the costume designer. John Reid brings up the technical requirements, Roger’s got the ‘galileo’s from Bohemian Rhapsody playing on repeat in his head as he stares into the middle distance, and it’s Deaky who sits forward.

“We’ve got a pretty solid idea for the lights; Freddie and I have been consulting with a designer in America; she’s freelance, used to work for EMI, she’s reliable.” He assures, and Roger’s thinking ‘hey that sounds familiar’ but Reid seems satisfied and they’re already moving on to the staging and sound equipment needed.

Roger doesn’t connect the dots at first; it’s been almost four years since that fateful American tour, and they’ve had other tours come and go since, and as far as the others are concerned, they’re pretty sure he hasn’t spared you a thought since arriving home at the end of that tour. But he does, even if he doesn’t mean to.

The tour after you’d quit working for EMI, someone drops a parcan side of stage, and his heart is in his throat when he realises he was waiting to hear you yell ‘okay that one wasn’t my fault’ or something similar. All he hears is a faint apology, and a call from someone to get a broom. The scheduling’s different this time around, he can’t even have a cigarette in an empty theatre without some stagehand buzzing back and forth, or a band member trotting across the stage as they practice. It would be so much easier to lay on the stage if the rest of them were confined to one place while they played, like he was behind the drums. It’d be boring as shit, he would be the first to acknowledge that, but it would mean he would get stepped on less during lunch, and that’s a sacrifice he’s willing to make with the toe of Freddie’s shoe poking at his waist.

Nothing serious had come his way in that time, or rather, he’d never found anyone who could hold his attention for more than a week or two. People became dreadfully boring when all they wanted to do was faun over him and fuck him; not that it wasn’t fun at first, it was always fun at first, but there was a lack of variety, a sinking sensation that these people were more attracted to the idea of him that left a sour aftertaste.

But now he’s here, new company, new album, second leg of the new tour, new chance to sample all different women across this great nation. He’s already a little tipsy from his multiple jack and coke’s on the plane when they land, and he’s passed out on the tour bus before it even gets to the first tour stop. Once in Conneticut, he’s dragged from the bus, and informed that as soon as the tech crew had finished their meeting, they could start loading in their instruments.

“How long have they been here?” Brian asks the stage hand, and the guy shrugs.

“A couple of hours; the Floor Tech wanted the drum risers set up before she gave the brief.” He tells them as he lead the band in to the theatre, where most of the crew were milling about on stage.

“She always did have a flare for the dramatic.” John says with a grin where his eyes were trained on the stage, and Freddie hums in agreement, which only serves to confuse Roger further until he sees an all too familiar figure climbing the drum risers with a clipboard in hand.

“Alright guys, can I have your attention, please?” Even after all these years, the sound of your voice hits Roger square in the chest. “I wanna make this as quick and painless as possible, so after today we can bump in and bump out without any hassles.” You addressed the crowd with an easy confidence from your place at the top of the drum risers, tapping your nails against the back of the clipboard in your hands, wearing the overalls he’d seen you in so many times before.

“You can call me Spotlight; I’m the Head Floor Tech for the tour, as well as lighting designer; those of you on my lighting team, you’ve got a copy of the lighting plan, and I’ll be talking to you about how we’re gonna run it after this. Next time, I’ll get some help from the stage hands to set up the drum risers, I had a few people help me today to get them set up early, but that’s just because I like being tall.” With a sharp grin you pause as a titter of laughter spreads around the group, “stage management team, you’re in charge of making sure side of stage is set up with anything the band needs, and that it’s clear of unnecessary clutter and people, and running cabling for the sound guys; they’ll tell you what they need.”

After a beat, you look around the gathered crowd, and nod firmly, a gesture which a few of them return.

“If you have any questions, remember; find your Light.” You point directly at yourself. “We break for lunch at one, but until then we’ve got a lot to get through; let’s get rockin’.” Grinning brightly, you hop down from the risers into the crowd of crew members, ushering a bunch, each holding a sheet of paper, off to the side, as the others scattered like cockroaches under light.

“What the fuck is she doing here?” Roger finally finds his voice where he’s still standing, a little dumbstruck, alone in the aisle of the theatre where the others had left him behind.

“Didn’t you hear her speech? Spotlight’s our lighting designer.” Freddie calls over his shoulder, eyes wide and innocent, as if he hadn’t set this all up without thinking to mention it to Roger.

“Our what now?” He splutters, jogging a little to catch up to the other band members as they made their way towards the stage. He’s not quite sure what he’s doing, or what will happen when he gets their; the last thing you’d said to him was that you were stupid to think he was above his reputation, while you were in tears, and then it had been three years of nothing. He’s not going to run, at least he’s pretty sure he’s not; he’s self aware enough to know he was in the wrong last time you spoke, that he was an asshole, but he’s not going to be a coward. Not again.

“That was quite the speech.” John waits patiently until the crew who made up the lighting team had dispersed before addressing the familiar face at the centre. You turn, eyes bright and smile brighter, casually making your way towards him and the rest of the band.

“Yeah, I really feel in my element, you know?” It’s with an easy familiarity that you pull John into a hug, giving him a firm squeeze. “Good to finally see you again.” And then you’re hugging Freddie, and then Brian, and you stop short in front of Roger. It’s a stalemate, neither one wanting to be the first to look away, but both unsure of what to do. In the end, you don’t even offer him a handshake, just nod, and you turn back to the others.

“How’s Pippin been?” Freddie asks, and you’re about to answer, but Roger cuts in.

“Hang on, can someone fill me in here? Lovely to see you, by the way, just a little confused as to how you got here.” He says, and you’re lost for words, just blinking rapidly, trying to process the whole situation.

“Did you not tell him I was working with you guys?” Your words come out incredulous as you turn your gaze upon John and Freddie, who seem just as bewildered as you.

“I thought he’d cotton on when I mentioned an American designer who used to work for EMI.” John mused, turning his gaze on Roger, who frowned, thinking back to the initial meeting he’d just mentioned.

“I did,” Brian piped up, before casting a smile at John and Freddie that was just a little bit confused, “though I wasn’t a part of this little setup.” He tried to reassure the drummer.

“In my defense,” Roger started, before his gaze dropped, “I wasn’t paying attention, design isn’t exactly my forte.” He admitted, and you had to shake your head at that, exasperated and already a exhausted.

“Pippin’s good.” You go back to John’s initial question. Pippin isn’t so much a person as it is a touring version of a Broadway musical that had opened a year ago, to great success.

It turns out a written letter of recommendation from both the lead singer, and bass player of Queen goes rather far in the industry. After taking some time for yourself, you call up EMI to beg them not to fire you, however it turns out you needn’t have; both John and Freddie had given glowing reports of your work ethic and skill, and the man on the other end of the line is just eager to know when you were next available.

The moment you’re on site next, they tell you you’ve been promoted to Floor Tech; they hand you a roll of gaff tape and a drill and a whole new set of responsibilities, heaped onto your usual load. You don’t even remember who had been performing, the tour had only lasted a month, all you know is that they were calling you Spotlight from the moment you’d arrived; apparently it was what Freddie had called you, and John had to clarify.

John is the first to contact you again, through EMI of course, and he becomes something of a comfort when you consider taking your career beyond the company that kept you firmly in the one position on tour. Freddie calls you less often, and never about business; it’s John who gives you the courage to leave EMI, and he’s the one who helps set up as a freelance theatre and event crew member.

People had been head hunting you from tour to tour, beyond even EMI, some smaller acts even giving you the full Lighting Designer role. They expect you to sit back, let a stage hand or an assistant to take care of it, but every time you watch someone else focus a spot, your fingers itch to be doing it yourself. Dedicated to a fault, Roger had once called you, you think about it every time you climb an unsteady ladder, and think perhaps that he’s right.

The moment Pippin announces it’s tour, and puts out calls for crew, you’re first in line for the job, putting your hat in the ring for lighting, but happy enough to take any crew role. Not that you don’t love working with bands, but there’s a certain finesse that comes with theatre lighting that you can’t get anywhere else in the world. After two years, and the support of both John and Freddie, you find yourself as the assistant Lighting Designer, as well as Head Floor Tech, and once you step foot onto the tour bus, everything else becomes history.

Speaking of history, later in the day, after the rest of the crew have broken for lunch, you’re wedged under the drum risers, running some cables, when you hear someone climb up them, taking a seat at the drums.

“If you play one beat-” You’re cut off by Roger’s yell of surprise, as he’s so startled he almost falls off his chair.

“Holy shit, who is that?” He’s breathing heavily, voice panicked, and for a moment you take pleasure imagining clutching his hand to his chest like a delicate, little grandmother.

“Take a wild stab in the dark,” you mutter, unwedging yourself from beneath the structure, raising an eyebrow as you look at him. Almost immediately he’s frowning, and you’re thrown back to the moment almost three years ago where you’d been here before, looking up at him from behind the drum risers after you’d changed out the light mid-show. Clearing your throat loudly, you break the moment, getting to your feet and making your way to the side of the stage.

“What are you doing here?” He calls, watching idly as you go about counting out fly lines until you get to the one you’d been looking for. You’d gotten here early to go through the fly-line procedure with the Duty Tech for the venue, and now you lowered the LX bar it was attached to with ease after making sure there was no-one in the way. Your focus made something in his chest tighten, and he feels like he’s being taken back in time; you’re beautiful when you work, passionate and skilled, meticulous, that hadn’t changed. Roger has to look away.

“My job,” and you just sound tired when you say it, already securing the meticulously placed lights onto the bar you’d just lowered, going along and fixing them to the metal in a neat line. An uncomfortable silence spreads between you, punctuated only by the scrape of metal against metal, and the rattle of the safety chains.

“What are you doing here?” You don’t even try to hide the snippiness from your voice, not even turning to look at his as the accusatory words hang in the air.

“I’m having a smoke in what I thought was going to be relative peace, it’s something I do, okay?” Voice defensive, you hear the rustle of cardboard and hear the click of a cigarette, your annoyance growing with each passing moment.

“No, it’s what I do. It’s what I did three years ago, you just started showing up. You stole my relative peace.” You snapped, turning to him, a blazing fury in your eyes at his words, before your lip curled in disgust, “And you don’t even do anything with it.” You scoffed, and he went quiet, sulking behind his drum kit. Sensing he wasn’t got to talk back you turn back to your work.

The moment you turn away, he sees the way you heave a sigh, angry tension draining from your shoulders, a little hunched as you concentrated. Your hands shake a little as you fiddle with the safety chains. There’s still that confidence there, the ease with which you moved about the stage, but unlike around other people, when it was just Roger - though he suspected you were pretending he wasn’t there - you just looked... weary.

After that first town, he keeps his distance for a few stops, though the other band members look to keep you company on occasion. But then... he’s there again. Quiet this time, he just watches where you hold yourself like royalty at the top of a rickety ladder, so sure of yourself. He’d forgotten the sight of you in your element, and it hits him like a truck.

“Take a picture, it’ll last longer.” You snap when you chance a glance down and see his awestruck expression looking up at you. The shock comes when he actually looks abashed, averting his gaze, picking up his drumsticks and tapping out a rhythm that you’re pretty sure you recognise.

You’re both too stubborn to give the other one the peace of the theatre at lunch, however, while you’re content with stewing in silence as you worked, Roger, to no-one’s surprise, is not.

“How’ve you been?” He brings himself to ask. You stop where you’re replacing a gel on one of the drum riser lights, taking a long moment to consider your words carefully.

“Busy.” Tired. The subtext comes through loud and clear, despite your short answer, and once you’d finished with the light, you stand, before taking a moment to stretch your back out from behind hunched over.

“Working a lot?” I can tell. He answers after a long pause, almost sympathetic, and you know he’s not really responding to the words you’d said out loud.

“Yeah, non stop.” No subtext, just responding at face value, before your eyes up to the mostly finished rig. Afternoons were for last minute fixes and focusing, there wasn’t much left you could do, unless you were willing to ask for Roger’s help.

“When did your last thing end?” He asks, and you click your tongue as you turn on your heel, burned out gel in your hand, heading for a bin.

“Two days before this one.” You admitted. When you’re met with silence, you turn, and Roger’s frowning at you, almost disbelieving.

“You’re not still sleeping on the tour bus, are you?” He asks, and you roll your eyes before you tell him your accommodation is paid for this time around. You’re the first to leave, for the first time since everything had started, you leave halfway through to actually eat lunch, leaving Roger to himself.

When he’s drunk after the show, leaning against some local pub, with a girl leaning against him, heavy enough that the two of them would have tipped over if it wasn’t for the counter, he can’t get you out of his mind.

“I didn’t ruin her career.” His eyes go wide as the words, with something akin to revelation, escape him, and the girl makes a noise of confusion, her fingers ghosting over his chest, but he can’t even bring himself to enjoy it.

“I didn’t ruin her career!” He announces, excited and pleased in his inebriated state, sitting himself so forcefully on the arm of Freddie’s chair that he spills part of his drink. Freddie makes a noise of confusion, looking up at the blonde, and Roger gesticulates enough to spill more of his drink, ignoring Freddie’s yelp. “Spotlight! She said I’d ruined her career!”

“When?” Freddie asks, just as John pops out from seemingly nowhere.

“Well you certainly didn’t help it. That was me.” Roger doesn’t care that John’s drunk, the way bassist says it, so serene and matter-of-fact, makes it sting just a little bit worse. His mood instantly flips.

“Can you piss off? Go be her best friend somewhere else.” Roger snapped, and he knew he’d regret being so sharp with John the following morning, but it seemed John himself knew that Roger was in a mood, and obligingly fucked off, seemingly not taking it to heart. “When we broke up, she accused me of ruining her career.” And he realises too late, when Freddie’s eyes go wide with realisation, that he’s said too much.

“Is this where you tell me exactly what went down between you two?” He asked, tapping Roger’s leg with excitement. The blonde, however, stood abruptly, glower on his face.

“No. Fuck off.”

Roger spends almost fifteen minutes banging on the door of the tour bus before he remembers that you’re not in there, and falls into bed alone, fully clothed.

“The fuck did you say to Freddie last night?” The moment he steps foot onto the stage at lunch, you’re waiting for him, already livid. He’s tempted to turn and walk right back out the door. “Apparently he doesn’t know the real reason that I went home last ti- !”

“Of course he doesn’t!” Roger snapped back, on the defensive without a moment’s hesitation. “It makes me look like a fucking wanker and he’d kick my ass; he adores you!” And that was enough to shock you into silence, grip loosening on the gaff tape in your hands. “They all do.” He said, and your expression turns unreadable.

“I know.” You finally said, a new, strange quality to your voice, it’s something akin to shock, but not quite, and Roger doesn’t know what to say next. “What about you?” You finally ask, voice a little defensive. It hurts to see you look at him with such a judgemental eye, though he’s well aware he deserves it.

“Doesn’t matter, does it? I could apologise a thousand times and you’d still be pissy.” He huffs, and you cross your arms, cocking your hip.

“At least once would be nice.” You level a cold glare at him and his gaze snaps back at yours, surprised. “You never once apologised, you know that?” And your voice is low, hurt and honest. “Are you even sorry for what happened?”

“It was three years ago-” He sighs, but you cut him off, shifting your weight to your other foot, swallowing thickly.

“So that’s a no. Glad to see where you stand.” And you turn to cross the stage to where you’ve already got the ladder set up, but he makes his way to you in three long strides, making to grab at your upper arm. The moment he does, however, you whirl around, slapping him, hard. “I told you to never fucking touch me; did you think I forgot?” And he sees why you were so eager to leave; there’s tears in your eyes, so close to breaking and streaming down your cheeks, your lip trembling. Something about your voice is so raw, it hurts worse than the slap.

“I am sorry.” And he sounds so fucking sincere, but you just glare at him, unashamed where the tears have begun to track down your cheeks.

“You had your chance to say sorry; you had your chance to beg for forgiveness, but you told me I could leave; so I did, and so did your fucking opportunity.” But you can’t bring yourself to step back, frozen in place where he’s less than a foot away. Every fibre of your being is betraying you, wanting to be around him, close to him, after what he did.

“I’m sorry what happened between us;” his voice is so level, carefully controlled, you know he’s think hard about what he’s about to admit, “I fucked up, I know that; I’m sorry. It was three years ago but I’m still sorry. I’ve been sorry for a long time now.”

“Since it happened?” You asked, and he didn’t drop your gaze, answering without flinching or hesitation.

“Since I started worrying I’d lose you; I know what I’m like, I knew what I’d end up doing.” He admitted, and the words clearly didn’t have his intended impact as you stumble back, free hand clutching your chest.

“And yet you still-” And quietly, so quietly you’re not even sure he hears it, the words come out as more of a defeated whimper than anything else; “How could you not tell I was in love with you?”

He’s in shock, and you barge past him, leaving as you can no longer contain your aching heart, and you head to the hotel you were staying at down the road, taking the rest of the lunch break to cry.

When you return, the rest of the crew has filtered in, Roger looks guilty, and Freddie and John look about ready to commit violent homicide, which was unsurprising for Freddie, but there was something comforting about Deaky wearing the expression too. In less than a week, the whole crew knows, and wherever you go, you feel yourself followed by pitying stares, which won’t go away, no matter how hard you throw yourself into your work.

“You’re working yourself into the ground.” Roger tells you a week later, watching the way your arms tremble as you focus a light, and it takes you a moment to blink blearily at him. “Don’t forget the security chain.” He adds, and you scowl, before looking at the light itself, and hurriedly affix the security chain to the rig. You insist that you’re fine, making your way down the ladder to scoop up another parcan, but you almost immediately drop it.

“I just need some food.” You try to insist, your hands shaking as you leave the light where it is.

You don’t come out after shows, and it’s not gone unnoticed. The rest of the crew think you’re just dedicated, personable for the most part but prone to bouts of standoffishness.

“Oh you should have seen her on our first tour,” Freddie muses to an enraptured crowd at an afterparty, a few crew members listening with a bright-eyed attention, “that woman risked life and limb for our show.” And he sounds so proud when he says it, but something twists uncomfortably in Roger’s gut.

Cracks don’t show around other people, Roger’s noticed; you’re smile’s bright enough and your voice is loud enough that they don’t see the way your hands shake. Or how tired your eyes are. But then there are moments, you stand as if in the eye of the storm, gaff tape and drill in hand, watching as people follow your instructions without question, and you look up to see Roger tweaking his drums, and the two of you share a look. It’s a little indecipherable, he’s concerned and you’re just... tired. He wants to offer to help, but as soon as the moment arrives, it’s passed, and you’re off to the next task.

The air between the two of you has lost it’s angry tension; after saying your peace, after hearing his apology, there’s no fight left. Just a lingering disappointment, a quiet like the moment after a world-weary sigh. You don’t have to pretend around Roger, you both know he’d see through it if you’d tried.

“You should come get a drink after; you look like you need it.” Roger laughs, but there’s no humour in it. Without missing a beat, you decline, you don’t even bother coming up with an excuse.

“I’m worried about you.” The tour is almost three weeks in, and you’re asleep against the proscenium arch when he walks in. You wake with a start at the sound of his voice, reaching out for the light you’d been fiddling with before you’d passed out. When you look to him with confusion, he repeats himself slowly. “I’m worried about you; are you sleeping okay?”

“As if that’s any of your business.” You snapped back, and Roger kept quiet. It only takes him a day to figure out that sleep isn’t really a luxury you allowed yourself; you were the last out every night after bump out, sometimes staying until two in the morning, and from what the crew said, you were always the first up, running through check lists, accident reports, and going over anything that needed maintenance.

When Freddie asks you to come out with them after a gig, you find it difficult to say no, he helped get you this job after all, but you’re there for barely half an hour before Roger sees you slip out the side door, drink untouched.

John asks if you’re okay one afternoon when you drop a stack of gel frames without warning, jumping almost a foot in the air and looking like you’re about to break into tears from shock, but seems content when you explain you’re just tired. Tired doesn’t even begin to cover how overworked you are.

The night you finally decide to relax a little, bump out having been miraculously fast, you’ve got the next day off. The others cheer you on as you down drink after drink, the alcohol hitting you hard and quickly, and the world gets blurry as you find yourself on the dance floor. It’s easy to drink too much, because for the first time in a long time, you’re relaxed, not worrying about the pretty, dickhead blonde who worries about you when he really shouldn’t.

You’re drunk enough to admit to yourself that part of you likes the attention he’s giving you, it feels like vindication for the heartache you went through all those years ago. Part of it’s not even vindictive, part of you just likes the way he looks at you, the way his smile made your heart beat just a little faster; you call that part a fucking traitor and have another drink.

You don’t remember leaving the bar, but you come back to your body when you’re leaning against a streetlight for support, halfway through telling someone to fuck off.

“Ya’ not my caretaker, Roger,” you sneer, “you don’t need to look after me or whatever this is. Go help groupies home or to hotel or whatever.” You spit, and push off from the light, turning on your heel, almost topple over, and right yourself.

“Light, that’s the wrong way.” He calls, exasperated, and you turn again, this time actually crashing to the ground and grazing your hand on the way, before you get to your feet. He’s come over to try and help you, but you swat him away.

“You don’t get to call me that.” You stalk ahead of him in the direction he had come from, back toward the hotel, and he follows only a few steps behind.

“Fine, Y/N; you’re legless, let me help.” And after a moment of intense eye contact, in which you try to weigh up your options, you begrudgingly loop your arm through his.

“You’re still on my shit-list.” You inform him, and he hums in acknowledgement. “Why are you doing this?” You follow it up with.

“I’m not the asshole who fucked you over three years ago, and I’m not gonna let you get yourself killed for this show.” He said through gritted teeth, and you just smiled, a little dreamily.

“But what a way to go.” And he came to an abrupt stop. It took you a moment to realise, and looking back, you tugged on his arm to keep him moving. He just frowned at you, a little concerned. “Fuck, I didn’t mean it.”

“If I have to fire you to get you to take a break-” He threatened, and you scoffed, expression turning bitter.

“I’ll drop a light on you.”

“You’ll drop a light on me by accident before then anyways!” He crowed, and your expression fell, contemplative. “Just let me help; what do I have to do to make you actually rest? What do I have to do to prove myself?”

#roger taylor #roger taylor imagine #roger taylor x reader #bohemian rhapsody #borhap #bo rhap #borhap imagine #bohemian rhapsody imagine #freddie mercury #john deacon #brian may #and then there was light #ben hardy #ben hardy imagine #the angry lizard writes

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heilewelt · 6 years ago

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In words: Americana Showcase Festival UK, Januar 2019

My favorite festivals are the small and relaxed ones where every venue is just a small club within walking distance and it’s comfortable to get in every venue because there are no massive lines, the people are relaxed, no pushing and everyone is playing on time. Those are a few reasons why I fell in love with the Americana UK Showcase Festival in London the other week. A small, wonderfully curated festival in the heart of Hackney. It’s made by the Americana Music Association UK and part of the conference which took place during daytime. This year I left the conference part out but I’m pretty sure I won’t next year.

I initially went to London to (finally) see Arkansas Dave live. We met in Nashville during Americana Fest 2018 and drove around downtown to do our interview – I just arrived to late to catch him live. So, London it was. I’m so glad I went. They were amazing. The stage was shaking. Literally. Dave is not holding back on stage and when he jumped the stage would shake. The drums were shaking. Mikey was smiling behind his drums. He had a different drummer than usual but he got one of my most favorite: Mikey Sorbello of The Graveltones. I love his style. He knows Rock. Their set was a little less Americana and more stomping Rock’n’Roll. Heating up the freezing cold room or just me because I couldn’t stand still. Of course their set was a little too short – round about 30 minutes. Maybe the only downside of a showcase festival.

Once again I was lucky. The line up of the whole festival was very, very good. Arkansas Dave’s performance had been the cherry on top of two beautiful days. I also want to tell you about my ice cream performances. I was very fortunate to see Kaia Kater again. She is a Folk musician from Canada. There’s always something very earnest about her performing her songs and the way she combines traditional with modern and - as you can hear especially on her latest album “Grenades” – her own and her families stories. The Empire Bar was full. And even some other bands were seen – like Birds of Chicago. Later that same night I’d see them on stage of the Night Tales. Another highlight.

The duo, JT Nero and Allison Russell, were joined by Steve Dawson on guitar. One of the things I like about these guys is that Allison Russell actually plays a clarinet, an instrument I don’t see to often on stage. And I love how the voices work together – the roughness and the smoothness. Beautiful. My favourite moment of their set was the performance of “American Flowers” at the end and how all the music industry people joined in to song along the chorus – according to JT Nero something you shall never attempt. Haha. Well, it worked fine and was such a beautiful moment.

Ida Mae is a duo who moved from London to Nashville, musically being more at home in Nashville than in London. I’ve seen them last year in Nashville and now again in London and they’re wonderful. Growing love with every time I see them live. There’s something very comforting in their music and Chris Turpins voice and the harmony with his wife’s Stephanie Jean’s voice. I absolutely love their newest single “If You Don’t Love Me” – live it becomes even more emotional. These two are one of the bands who I believe have a big and bright future ahead of them. They’re endlessly on tour.

Here is my universal tip for you: never leave the venue when a white haired man with beard and cowboy hat enters the stage. That’s why I caught Asleep At The Wheel as a duo at a packed Moth Club. Well, a quarter of Asleep At The Wheel: Ray Benson and Katie Shore. Of course I’ve heard of them before but never saw them live. What a shame! Country right from the heart of Texas, plenty of stories and laughter. Some great cover versions, Asleep At The Wheel Songs and a song written by Benson and Shore over skype – modern times are not all bad. I’m not sure what venues they usually play but seeing Ray Benson on such a small stage felt pretty special.

I’ve only recently heard about Ethan Johns for the first time – he produced two albums which will be released soon: William the Conqueror’s “Bleeding On The Soundtrack” (release date: 15th of February 2019) and Ida Mae’s soon to be released debut album. Both on my watchlist. Johns didn’t play alone. He had The Black Eyed Dogs with him, his everchanging backing band, more a collective of musician/friends who meet on stage to play together or a public rehearse. It was fascinating to watch him as he has this way of directing the music even while they play. Keeping it all together and then again let lose for a little jam at the end of a song.

I guess every festival must end with a bang. That’s why Whiskey Shivers were the perfect last band. Barefooted, moustache wearing perfect last band. Barefoot in a venue that was basically an open garage at temperatures around 0°C. They sure kept warm as there is no way that they or us could stand still. Trashgrass at its best, although I don’t know what it would sound like at its worst. Joyous last gig, especially when they played a song amongst the audience. Would have been even better without cell phones and cell phones’ flash lights but you can still close your eyes and listen and dance.

The Americana Music Association UK also held an award show at the Hackney Empire on the third day of the conference. There were winners, wonderful speeches, Bob Harris and performances from artists like Mary Gauthier, Graham Nash, Ethan Johns, Israel Nash and more but for me the most outstanding, remarkable performance was from Rhiannon Giddens! She left her banjo behind and sang without any amplification. How it used to be in this impressive, old British theater and even in last row on the balcony I’d get goosebumps. So amazing. I’m so glad I finally got the chance to see her live after so many years of listening to her music.

I can’t wait for the next edition of this wonderfully curated little Americana festival. You can feel the passion in every moment and the love for the genre when you talk to the visitors. I just loved it.

Thank you for reading,

Dörte

P.S. all photos (c) Dörte Heilewelt, a few more photos on my flickr.

#americanafestuk2019 #americana #country #music #music festival #music photography #arkansas dave #kaia kater #birds of chicago #whiskey shivers #ida mae #ethan johns

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theparaminds · 6 years ago

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It’s not as though Natalie Green knew what this year held in store or what would exist at the end of the road. Though, at every step of the way, he kept going. Embodied in both his music and his story of perseverance, is a rare example of an artistic soul that found peace where few would ever dream to look. It took months of learning and continued questioning of himself and what he wanted to be. But in the end, it resulted in a man anew.

With a new project taking shape in studio sessions that contrast his earlier life, Natalie Green is finding a voice he previously was nervous to share, speaking louder than before. The ideas, memoirs and anxieties he hopes to express have become clear. With every note, he continually finds himself as much as he does connect to those who battle the same confusions.

Natalie Green now stands with a new asset he hadn’t held prior, the ability to embark on the path he wants, not the one life throws him upon. He can stand and become the artist he visualizes, the artist he knows is essential to reveal to the world. For the first time in a while, Natalie Green is in control, with a steering wheel in hand and a road of possibility on the horizon.

Our first question as always, how’s your day going and how are you?

Things have been hectic, but good. Good busy you know? There are different kinds of busy and this one has been all positive.

On your last EP last year, it sounded like you weren’t fully at peace, do you find that you are now after a year of personal introspection?

Yeah for sure, when I was writing the EP, I was in a really terrible place physically, emotionally and mentally. It was a passion project when it came out, I didn’t have to think about it. Whereas now, I’ve got a place, I’m not just in my car anymore, I emotionally feel a lot more centered, I have my head on straight. I’ve found friends and people that I love to surround myself with. Everything’s been a thousand times better.

When you’re looking within this shift you’ve undertaken, where do you think you’ve personally grown the most, whether artistically or as an individual?

I think I’ve gotten more empathetic towards people. All people. As well, I feel more self-aware. What I realized when living in my car was that I didn’t know myself. Living in a house again with roommates made me, in a new way, learn more about myself, and where I needed to spend a lot of time mentally. As far as musically, I feel more confident, I think that’s apparent in my vocals and instrumentation, they’re far more personal in that sense.

With the new year in season, being a time of reflecting upon the past year, do you have any memories that stick out to you as positive through the difficult and turbulent times?

There’s a lot. I don’t know if there’s one specific moment, but definitely moving into the apartment. I also got to play a private show in my friend’s backyard for all my close friends. That was a big moment for me. There’s a lot of moments where I had friends reassure me, and believe in me when I wasn’t doing so myself. One of my best friends from back home came to live here a little while ago, that was really special to have him back. The whole tour with Roy, of course, was inspiring, to see him do all that and becoming closer to everyone I went on tour with will forever be in my memories.

With that tour, and even more so working on Cat Heaven, happening while you were working on your own projects, did they influence the way you approached your new work?

There are certain things I learn from other people I can implement in my own music later. There will be something I’ll figure out while I’m working with someone, be it a sound or a new style, I can kinda pull out later. A lot of it is just talking to others and learning their inspirations and how that reflects in their music. Then turning and comparing that to my own influences and seeing how I do the same. It’s all just inspiration.

To touch on that idea of inspiration, you’ve mentioned in the past how you have a wide range on influences in your life in terms on music, but in the last year, which artists have really been influencing the work you’re putting out?

There’s been a lot of really great artists I just got into this past year-ish, but a big one is Michelle Zauner, who’s the singer for Japanese Breakfast. I’m hugely inspired by her, the fact she directs her own music videos and does all her own creative output, it’s really amazing. I’ve also loved the movies of Michel Gondry and the writing of Charlie Kaufman, anything they work on is amazing and so intoxicating.

With this new album you’re ramping up to release, has there been a difference in approach to how you wrote songs and lyrics? And how does that process look like?

I mean it’s been different for almost every song, I tried to do the album the same way I did the EP, and it wasn’t working right. Every song I wrote just felt lacklustre or the same. So to change it up, I had to change my methods, like the first song I wrote, I did two guitar parts first and then I sang, then produced over. That is very different to the EP which was songs first then lyrics. There are certain songs where before I recorded, I had a guitar riff and just wrote the song in a very traditional way, just chords and singing. Maybe loops would be first at times, and then they’d be built off of. Everything has been different.

It’s interesting because it sounds like you’ve really been adding more to your skill set as an artist, would you say that if you had a tool belt of music, that you’ve been adding towards it in the last while?

Yeah, definitely. I’ve been doing that my whole life honestly. I started in bands, not knowing how to produce or anything, but I could play guitar and from then I learned the bass just to add of that. Then I learned production, and that is forever useful. Now I’m working more to be an artist and learn what that entails and requires. Every time I learn something new I really take that and hold onto it until needed.

If you could create your ideal music creation space, where would it be and how would it look like?

That’s interesting, It would really just need to be a secluded place. A place I could disappear and a place I could be as loud as I want as late as I want. No interruptions, all the equipment I needed. Some food, drinks and a bathroom, that’s all I need.

Over the year you’ve posted some concerts you went to, like Paramore in the summer. Are there other shows you saw live that really had an impact upon you and maybe changed the way you approach live shows yourself?

Well, of course, the tour with Roy, he’s been super inspiring in general and watching the man work is amazing. He has a lot of fantastic ideas and he goes through with them. I saw Daisy as well, and they’re so good live. Solange was also amazing with her stage design and her choreography. I also saw Soccer Mommy pretty recently, and it wasn’t too extravagant but it was so well done and exciting to see as a fan of the music.

When you’re on stage, even something like the backyard show you mentioned earlier, what’s the emotion you’re trying to achieve and what is the mindset that you find yourself within at that moment?

When I played that private show, I realized all my songs were pretty mellow and hard to dance or move to. All except for Beachwood didn’t translate very well. So with this new project, I want them to translate really well live, to feel energetic, to feel lively. The songs are just fun. But I keep that emotion in and make sure that I don’t lose what made the earlier work so special and important.

What’s been the overall message you’re trying to pursue this new work and what is it you’re hoping to convey?

I kinda just want to tell my story. Or a story of mine. If people learn things from that, its great, but I’m just saying what happened in my experience. What I realized is that there’s a lot of shitty things that happened to me in my life, but the truth is that things could be a lot worse, so far they’ve been pretty good for the most part. While I had those tough days, I’m still here kicking it.

I apologize if it’s a repeated question, but with the topic of your story, what’s the meaning behind the stage name you’ve taken upon yourself?

It is and it isn’t part of my story in a way. A big part of that choice was that I wanted to separate myself from my old name and work. I wanted this to be super new. The name is taken from two names of people I am very inspired by. And it also, to me, sounds like the quintessential hot girl from a high school, the girl in the coming of age movie they all go after.

If you had a message to artists out there who may find themselves in the same space as you have previously found yourself within, those who may feel as unsure, what would be your lesson to pass on?

I think it doesn’t matter if you’re as confident or as talented as you want to be, as long as you recognize what sounds good to you, just put out the song. It doesn’t matter if you think your voice was bad, just keep progressing as an artist. If you wait for that progression you’ll never put stuff out, you’ll never be happy. With whatever you have right now, just start putting something, anything, out.

Follow Natalie Green on Twitter and Instagram

Listen on Soundcloud and Spotify

All Photos by Guthrie King

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yeonjuins · 3 years ago

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yes!! june from plt omg, my favourite HASSSSS TO be The moment, its my top scrobbled song from him on lastfm, i came across him on one of those krnb playlists on yt lmao, then i became stupid obsessed w blah, i wish june would drop more </33 i love his voice

i enjoy the other artists too! gaho pink walk and ride, villain w bank robber (when i first heard it i accidently had the album on repeat then it kind of haunted me in the next coming days LOOL)

i agree i think zines are so fun, maybe you know alr him but theres this indie ish artist called colde and someone made a zine for his latest project, i came across it when i was just browsing and then i was like yea. i wanna do something like this - then i never did it in time.

Gygule will always be iconic, its kind of what inspired me to do open an account and just share work and improve :)) (NOT TO BE UP UR ASS OR ANYTHING LOL)

no serioulsy tumblr gfx creators are nuts when it comes to gfx so im slowly trying to be just as good as them

and thank u! and no ur not prying its okay lool, im acc from the uk and i think canada and the uk are kind of similar in some ways idk

okay thank you for the seperate post on organisation omg, making a mental note to save stuff individually because that would really help sometimes in case i need to go back and fix something haha - this post will help for when i really get started so THANKK U AGAIN!! (Ur tags under that post lmao, I would delete my files once school work was submitted then it would come back and haunt me when I suddenly and magically needed it again smh)

i literally just found about billlie the other day and i AGREEE i think theyre due to cb soon?? saw something on twt idk LOL - MY FRIEND LITERALLY FORCED DAY6 ONTO ME PROBABLY WINTER2020 ? literally against my will but i grew to love their music sm <3 my favourite is when the sea sleeps, she played it on her bass for me for my birthday, and yea wonpils voice!! >>

i dont listen to epik high regularly but they do collab with my faves so when i dooo ik its gonna be a good song, i've never heard that album so ill be sure to give it a listen, crush and leehi are on it SO I HAVE TO LISTEN!!! I love ph-1 sm, i always have these phaases in music where i listen to one person mainly for like a month and he was one of those people - his solos and features are so good! (tbh i think that happens when i like alot of their discography so it makes sense - rn im in my edgy indie main character syndrome remi wolf and dominic fike era)

if i had to say my top favourites by ph-1 would be oscar on the higher blue tape (thats when i first found out ab him), aura w junny, ummm by BOYCOLD w sik-k , game night? and his 0X1=lovesong feature obviously. ( A LOT OF FEATURES BUT I CANT HELP THAT HE SOUNDS REALLY GOOD ON THEM WTH )

that song by def/jb was my first of hearing of leon but i really liked his part, and i get what u mean LMAO, nothing else can describe the feeling other than 'vibes' LOL

wow dpr live jasmine had me in a chokehold like man. SO GOOD!!!! also one of my first krnb artists. I heard him and ian might be going on world tour soon and i really wanna go diajojw, watching their head in the clouds set last year made me really want to see them live AND THEIR WHOLE DISCOGRAPHY OFC

okay orignally when i wanted to send u a rec i had a completely diff song in mind but i got sooooooo carried away and forgot 🥲

Same - SOLE ft THAMA

i say i have a million and one favourite songs but this is truly truly really really my favourite one

I hope you had a good day the last few days too, and hoping for many more (what a mouthful💀)

ENJOY :]

-june anon

(lengthy response!)

god i dont rmbr how i came across plt but i remember finding hocus pocus and being absolutely in love... not only the mv was SOOOO pretty but the song was SOOO GOOD !!?!? BLAH IS SOOOO GOOD OH MY GOD june is insane... i love plt overall they truly have my heart <3 i rmbr being obsessed with igoholic (esp villains part (on another note villain is insane i LOVE his discography so much))

BANK ROBBER... SOOO FUCKING TRUE june anon ur taste in music is immaculate oh my god... literally plt is so underrated i'm so ((":

I LOVE COLDE... PLEASE fan projects are SOOO absolutely sick it looks SOOO good ;; i rmbr stumbling across a soda can edit for txt's songs (also posted on behanced!) and it was SO LOVELY ;; istg anything posted on behanced is automatically a good edit PHAHAHA despite not being able to do it on time, i'm sure you can still do it whenever your more free (": it's still good to build the skill nonetheless imo hehe

PLEASE GYUGLE HAD THAT SORT OF IMPACT ?!?! ? i'm so honoured.. that was literally my second time creating gifs and i'm so surprised of how much love it got (": i rmbr going through my old posts and when i first posted it my entire dash was just... gyugle PAHHHA AND IT WAS SO INSANE because several people were making posts about how everyone was losing it over gyugle ): i'm truly glad to be in such a loving community and i'm glad gyugle was able to reach you my love ):

ah yes uk and canada... PAHHAHA canada was originally apart of the british empire so that makes 100% sense imo (<- slept through all history lessons . yet recalls mundane facts)

NO YEAH I USED TO JUST . delete the files the moment i was done with it so if i wanted to edit i would just NOT BE ABLE TOO... a bit too hard of an extremists for the wrong things ;; i rlly hope it helps !! i felt like i needed to do u more justice in contrast to my uh . how to learn ae tutorial . LMFAO

god i really want to get into billie so badly because their concept is just so cool... i saw their album cover and i thought the design was SOOOOO GOOD.... + i think i watched like their album unboxing and i just LOVED the concept entirely please... i’m slightly convinced i only buy albums purely to gush over the design (<- how i feel towards all of nct’s albums)

suhyun from AKDONG musicians is also on the album !! iu as well (”: i think the song i had the most on repeat was ‘the benefits of heartbreak’ but ‘here comes the regret’ ft lee hi is SOOOO good... this was like epik high’s comeback album so they DEFINATELY went all out for it and it was SOOO good... genuinely had this album on repeat for several days back when it first came out (”:

LOOOOL REMI WOLFE AND DOMINIC FIKE AKA . U LISTEN TO PHOTO ID . PAHAHAHAHHAAH i have the same exact song on my playlist (”: absolutely obsessed with the line “visuals in these frames look better than the ones that she posted on facebook” !!!!!!!!!!!!!!!!! i also love dominic fike (<- has a huge crush on him) i listened to his song ‘why’ on repeat after seeing an edit of him to the point that it became my most listened too song this month............ LMFAO

dpr jasmine still has me in a chokehold LMFAO I FEEL LIKE . EVERY DPR SONG HAS EVERYONE IN A CHOKEHOLD dpr is truly on something else imo... not just live but like dpr ian and cream... the whole entire team is just SOOO good and i feel like their individualism within the music industry stands out so much i love it

I ACC FEEL LIKE I LISTENED TO THIS SONG NOT TOO LONG AGO OMG sole is so pretty wtf her vocals are so good... this is definitely a feelsgood song (”: the upbeat energy is so lovely and refreshing ty for the song rec my love thama’s part is (mind explosion)

ty for dropping by my love <3 i’m glad my blog has morphed into a makeshift music discussion blog this is so absolutely cute PAHAHHA

#asks #june anon

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taegiiseok · 6 years ago

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god okay so this is going under a cut because I have some things to say and the recent allforbts thing has kinda prompted me into word vomiting finally abt it but it’s been on my mind for a while and I’ve just rlly gotta say these things so,,, don’t mind me I just need to ramble. For some emotionally charged bangtan related rambling pls read more

Now I’ve been an army for a while now, I’d say a dedicated stan since early 2016, and before that I was just aware of them as a whole but I stopped paying attention to kpop for a while there and it was unfortunately during their debut days,,, I always wish I had started paying close attention again sooner because these boys changed my life. And I don’t say that lightly,, I mean it with every ounce of sincerity I can muster. They made me happy, and they made me realize that just giving up isn’t the answer when u rlly want something. They let me know that they’re unafraid to be sincere with their feelings so I shouldn’t be afraid of being sincere in mine either. They literally opened my eyes when I needed it most and I’m forever grateful for that,, and I cannot express properly just how much respect and love I have for these men because of that. They’ve put so much of themselves into their music and into their careers and even when things weren’t picking up as quickly as they wanted they still pushed and carried on and idnskskns NO WORDS CAN TELL U HOW MUCH THOSE EXAMPLES MEAN TO ME. Their honesty and strength give me strength and I just,,,, I LOVE THEM. TO END THIS RAMBLING BIT HERE,, I rlly rlly love them. I’d do a lot for their happiness because they’ve given me the tools to take back some of my own happiness and there’s rlly no way to show u,, or them,, all the gratitude I feel for that.

SO NOW THAT THATS OUTTA THE WAY & we’re clear on all of the above,, I now want to say that I have a deep love for my fellow armys that are truthful on why they stan and that feel a deeper connection for the boys other than just on a shallow level. If ur here for the right reasons and u just want to show the boys support in any way possible, I support u !! I love u and I would love to speak abt the boys with u if u ever need a friend ! Wanna talk abt how much they motivate u ? Let’s do it up boo ! Wanna speak abt mental health issues ? I know abt those on a personal level babe ! U just wanna cry abt how cute one of them looked on a certain day ?? Come my way,, I GOTCHU !! I am an open ear and there is always an open door to my inbox and messager if any of u ever want to talk because I care abt ur well being. I care abt u. I care abt the boys and I care abt my fellow armys because at the end of the day we all are striving for happiness and peace of mind in this world and why not have an open heart to that ?? At least, that’s what this fandom was originally abt. Being here for bangtan and being there for our fellow armys.

That’s kinda what it’s always been abt in my mind and to see how toxic things have gotten in the last year ((specifically the last few months I’d say)) with streaming and voting and buying albums and singles to chart and whatnot like gUYS...... they just want your support ? They just want to make us happy with their music and performances because doing what they do makes them happy and seeing people LITERALLY try to guilt others into thinking they’re not real fans because they aren’t buying the title track fifteen times,, or they can’t afford to buy all 4 albums at least once, or they’re not promoting as hard as they can is 😣😣😣 SO BEYOND RIDICULOUS TO ME. It’s gross !!! It’s not right and it isn’t what bangtan are abt ?? These boys have always been sincere with us,,, always wanted to shoot for the stars but would always fall short and once they started gaining some real traction and reaching those stars they stopped aiming so high. The boys are happy! They have accomplished so much, and they never expect /anything/ from us as fans. They only wish for our happiness and support. They’ve said it time and time again and yet we still have people leading lynches against others for not voting on stupid polls ? For not hashtagging every tweet with a voting or trending tag for our favs ? For not being able to afford to buy albums or singles ?? Or hell,, some are even saying others need to put forth more of their effort to contact people they don’t know to let them buy singles for them ?? Really ?? It’s truly gotten so bad and I’m so sad whenever I open social media anymore 😔 people have lost sight of what the whole purpose of stanning a group even means & idk ,, it just breaks my heart.

If u only want to support bangtan by trying to break records they don’t even hope to break then go ahead but don’t shame others for not joining u. Let people be a fan and show support in their own ways and just know that even if some of us aren’t publically claiming to buy so many albums and so many singles,, we very well may be doing that on our own and out of the goodness in our hearts because we want the best for the boys that make our lives a little bit brighter. The recognition for awards and records just isn’t at the forefront of our minds because their music and happiness comes first, and so do ours. Its also not nice to pressure others into doing something they may not be able to do.

And at the end the day we all have our own lives and own narratives to live out,, and not all of those narratives involve intensively stanning a boy group we love 25/7. WE GOTTA WORK AND MAKE A NAME FOR OURSELVES BABES WE DONT GOT TIME FOR THAT AND THE BOYS UNDERSTAND AND SUPPORT THAT!! THEY DONT WANT ANY OF U,,, AND I MEAN //ANY// OF U PUTTING THEM BEFORE YOURSELF !!

It’s like they said in magic shop,, we gave them the best of them so we need to give us the best of us,,, and if that means putting urself before them sometimes ?? BLS DO OHMYGODBDJS TAKE CARE OF YOURSELF !! Break some personal records for urself !! Buy ur own mixtape fuxkdnsn IDK JUST ,,, loving bangtan is good and they’re amazing and I would love everyone to show their support for them but I say that because those boys want u to support u first. Don’t listen to people telling u you’re a bad fan because unless ur starting rumours and stalking them ur rlly not !! There is no such thing as a bad fan if ur just trying to show support for artists that u rlly love in your own way.

OKAY IM DONE. I HAD TO SAY SOMETHING BECAUSE THAT ASK RLLY SET ME OFF AND THEN I STARTED THINKING ABT THE LIVES AND LOGS THE BOYS HAVE DONE AND EVERY TOUR DATE THEYVE PUT THEIR ALL INTO AND HOW MUCH THEY GIVE US AND WHILE WE GIVE THEM BACK SO MUCH IN RETURN THEYRE ALWAYS SAYING ITS ENOUGH AND I JUST RLLY WANT TO REMIND PEOPLE THAT YOUR LOVE AND SUPPORT IS ALWAYS ENOUGH !! YOU ARE ENOUGH !!

I LOVE U 💞

#personal #ish #idk #I NEEDED TO SPEAK

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oldmyths · 7 years ago

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do all the questions you havent yet ilu

for the sake of my patience i’m gonna assume you meant the flower asks sdklfgjsd

daisy: How old were you when you had your first kiss?

i have not

carnation: If I handed you a concert ticket right now, who would you want to be the performer?

honestly...i want to see fall out boy on their mania tour

but when gerard drops the sickest album of 2018/2019 i will drop all my shit to see them live on every canadian date

jasmine: What color looks best on you?

black

foxglove: Name three facts about your family?

my oldest sister was born on november 5th, the sister i live with was born october 5th, and i was born december 5th!

my mom and dad are divorced

my dad isn’t my either of my sisters father, theyre closer with him than my dad

orange blossom: If you could pick the gender and appearance of your child, would you?

no that isnt my decision

poinsetta: Favorite holiday dish?

i’m a boring slut for turkey and gravy

oxlip: Would you ever get into a long distance relationship?

all my relationships were ldr and tbh i’m over it rn

primrose: Favorite kind of soup?

macaroni and lil cut up hotdogs. good shit. or like, chicken noodle

rose: Are you currently in love with someone?

amsonia: Would you ever become a vegan?

hm...i wouldnt like, completely rule it out? but i dont think i could just bc i’m already a picky enough eater

peony: What’s your favorite hot beverage?

tea!

tulip: For your birthday, what kind of cake do you ask for?

something small and sweet. but not like, overly sweet. i dont rly like cake all that much

myrtle: Do you like going on airplanes?

i dont have a phobia of being on them but im not like itching to get on a plane any time soon yknow? theyre fine imo

zinnia: Who was your best friend when you were six years old?

probably my mom bc i had no friends

poppy: What color was your childhood home?

the house i grew up in was this weird like, really really bright+dull green? it was like grey with a hint of green

hydrangea: Starbucks order?

i dont drink coffee

locust: What was your favorite book as a child?

i didn’t have a favorite but i did read this one that’s still with me; it’s called “varjak paw” and i’ve only met one other person who remembered that it existed

rhododendron: What’s the scariest dream you’ve ever had?

well a few months ago i had this one where i was trapped under a really big wave and i blacked out, and my mom woke me up and brought me inside our house when i ran away with my cat to my high school where these dudes were shooting guns across the road and they tried to kill my cat until i jumped in a police car and asked them to take me home, and the dudes followed me to my house and started shooting at the windows. my mom and i drove away and on one of those like...outdoor boiler things... i read something that i don’t feel comfortable sharing and i felt my face cringe in my dream and when i woke up at like 5am i read that tsunamis (which is basically what the wave was, but like. not really? it was a tsunami but the wave knocked me out and the actual tsunami lasted for like. a second.) basically mean repressed memories are coming to the surface and it freaked me out so badly that i stayed awake

queen anne's lace: Would you rather carve pumpkins or wrap presents?

i’m more likely to carve pumpkins tbh... but why not decorate a gingerbread house?

magnolia: Favorite kind of candy?

eh..not big on candy. but chocolate bars are dope

aster: Would you rather be cold or hot?

cold! u can always bundle up n shit

marigold: Do you listen to what’s on the radio?

if i’m in the car with my sister, usually. i’m pretty picky tho so not really

heliconia: Do you like when it rains?

YES

azalea: What’s a movie you cried while watching?

i can’t think of a recent example tbh...i haven’t cried while watching a movie in a while

#thanks for asking but also fuck u for asking dflkjghsdf #thats...a lot of questions

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rickyticky-bobbywobbin · 7 years ago

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100 Questions tag thing.

1. Do you sleep with your closet doors open or closed? closed. my closet is not used for clean clothing.

2. Do you take the shampoos and conditioner bottles from hotels? if my mom tells me to

3. Do you sleep with your sheets tucked in or out? tucked in but sometimes my sister sleeps on my bed and somehow undoes everything

4. Have you stolen a street sign before? yeah

5. Do you like to use post-it notes? i like using them when i have them

6. Do you cut out coupons but then never use them? yeah they are usualy for fast food joints but im just too broke to buy fod lol

7. Would you rather be attacked by a big bear or a swarm of bees? uhmmm... im assuming i wont die so ill say bear because thats much more bad ass

8. Do you have freckles? I do!

9. Do you always smile for pictures? depends who is taking the picture

10. What’s your biggest pet peeve? when im in the car and i get no say in the music. sorry but like... i want a say i dont wanna listen to some sad rock.

11. Do you ever count your steps when you walk? yeah lol

12. Have you peed in the woods? no

13. Have you ever pooped in the woods? no

14. Do you ever dance even if there’s no music playing? uhm if im alone yeah

15. Do you chew your pens and pencils? nope

16. How many people have you slept with this week? 1

17. What size is your bed? twin

18. What is your song of the week? Julia - Charly Bliss

19. Is it OK for guys to wear pink? YES

20. Do you still watch cartoons? yeah, i have a three year old sister

21. What is your least favorite movie? uhm....that ive seen , probably the hunger games, just not my thing

22. Where would you bury hidden treasure if you had some? in a cemetery w a fake tomb stone ontop

23. What do you drink with dinner? water or if im at a restaurant i get Shirley temples

24. What do you dip a chicken nugget in? sweet and sour sauce or ketchup

25. What is your favorite food? sushi and poke bowls

26. What movies could you watch over and over again and still love? Rocky Horror Picture Show and Scott Pilgrim VS the World

27. Last person you kissed/kissed you? i smooched my dad on the cheek before going to bed last night but on the lips was my bf

28. Were you ever a boy/girl scout? nah

29. Would you ever strip or pose nude in a magazine? depends on how much im getting paid and if i look good lol

30. When was the last time you wrote a letter to someone on paper? I wrote my dad a fathers day card but a letter that i shipped in the mail was like... sophomore year or something to my at the time boyfriend.

31. Can you change the oil on a car? HA no

32. Even gotten a speeding ticket? cant drive yet

33. Even ran out of gas? when i was in the car with my dad

34. What’s your favorite kind of sandwich? a hoagie. its like roast beef, turkey, and chicken w lettuce tomato and red onions w mayo and mustard. its so good

35. Best thing to eat for breakfast? depends on the mood. i like grits and eggs or sometimes i want like blueberry pancakes

36. What is your usual bedtime? 3-4 am

37. Are you lazy? yep

38. When you were a kid, what did you dressed up as for Halloween? Lots of things, i was a hobo, a bat, a cat, snow white, a pirate, a witch, a puppet, and a whole bunch of other shit

39. What is your Chinese astrological sign? Tiger

40. How many languages can you speak? English and a little chinese

41. Do you have any magazine subscriptions? no

42. Which are better: LEGOS or Lincoln Logs? uhm i played with lincoln logs more but i like legos more, theres more things to make

43. Are you stubborn? yeah

44. Who is better: Leno or Letterman? i dont really care about talk shows

45. Ever watch soap operas? my mom watched one but idk what it is

46. Are you afraid of heights? im more afraid of falling to my death

47. Do you sing in the car? YES

48. Do you sing in the shower? YEP

49. Do you dance in the car? you can dance in a car?

50. Ever used a gun? nah

51. Last time you got a portrait taken by a photographer? idk my mom is a photographer so probably last year for fathers day

52. Do you think musicals are cheesy? eh they can be lol

53. Is Christmas stressful? yeah bc my family that lives close hates us and we HAVE TO GO and it sucks

54. Ever eat pierogi? what is that

55. Favorite type of fruit pie? i love it all

56. Occupations you wanted to be when you were a kid? a florist, astronaut, vet, aaand president

57. Do you believe in ghosts? yes

58. Ever have a deja-vu feeling? alot lol

59. Do you take vitamin daily? No, theyre expensive

60. Do you wear slippers? no

61. Do you wear a bath robe? nope

62. What do you wear to be comfortable? Leggings and hoodies or teeshirts

63. What was your first concert? idk lol i went on tour with my dad when i was like itty bitty so my first concert was prob one of his, but the first one i remember was when i went to go see good Charlotte and sum 41

64. Walmart, Target or KMART? i like target

65. Nike or Adidas? i havent worn either so idk

66. Cheetos or Fritos? BBQ FRITOS or crunchy cheetos

67. Peanuts or Sunflower Seeds? Ui like sunflower seeds

68. Ever hear of the group Tres Bien? no?

69. Ever take dance lessons? i took three weeks of ballet when i was a baby

70. Is there a profession you picture your future spouse doing? uh idk lol

71. Can you curl your tongue? i can double curl it :^).

72. Ever won a spelling bee? i cant spell for shit

73. Have you ever cried because you were so happy? Yeah lol i cry a lot

74. Own any record albums? i have a million bc of my dads record collection but i have a few of my own

75. Own a record player? my dad does

76. Do you regularly burn incense? no my parents are stoners so they light them lol

77. Even been in love? Yeah

78. Who would you like to see in concert? panic at the disco, bruno mars, and Charly Biss

79. What was the last concert you saw? I saw the regretts at the echo.

80. Hot Tea or Cold Tea? hot when im sick and cold when im not

81. Tea or Coffee? tea

82. Sugar Cookies or Snickerdoodles?BOTH

83. Can you swim well? eh im okay

84. Can you hold your breath without holding your nose? Yes

85. Are you patient? usualy

86. DJ or Band at a Wedding? uhm probably a band idk

87. Ever won a contest? yeah a few art contests and one poetry contest

88. Have you ever had plastic surgery? no... i wanna get my nose fixed...

89. Which are better: Black or Green Olives? BLAFT i dont like either

90. Can you knit or crochet? uhm i cross stitch

91. Best room for a fireplace? the bathroom duh, lol ive had fireplaces we just dont use them ever so i dont really care

92. Do you want to get married? yeah one day, i never really wanted to a while a go but i kinda want to now.

93. If married, how long have you been married? not married yet

94. Who was your high school crush? uh.. i dated a few people in highschool so mu crushes changed all the time

95. Do you cry and throw a fit until you get your own way? No lol

96. Do you have kids? no but i am always babysitting my 3 year old sister so its like i have a kid lol

97. Do you want kids? maybe

98. What is your favorite color? uh dark purple and black

99. Do you miss anyone right now? yeah...

100. Who are you going to tag to do this tag next? no one lol. do it if you want

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angrylizardjacket · 6 years ago

Text

And All The Queen’s Men {Roger Taylor}

A/N: 5486 words. Okay wow. Please bare with me, this is a long one and also a bit of a different one. Written in the style of a Rolling Stone article. Finished it at 7am. Prompt & support from the lovely @ginghampearlsnsweettea

[And All The Queen’s Men ‘verse masterpost]

Warning: Minor character death, in both senses, it’s a baby, it’s not graphic it’s just mentioned, but just thought I should let you know.

And All The Queen’s Men: how the lines blurred between Queen and and the Queen of Jazz Rock.

An article almost two years in the making, after their last tour, which I was invited along to in order to write the initial article, the rock sensation Queen split, a decision, I am lead to be believe, was instigated by front man Freddie Mercury, and though Giselle Jones had continued to make music, even before her very public, on-stage breakdown, her lawyers had me keep the article to myself. Now, with the band’s reunion, and Live Aid having been a massive success with both powerhouse musical names coming back into the public eye, I’ve invited them back to my office for one last interview, but mostly to beg them to let me publish this article.

Which, obviously, they allowed.

It’s 1985, and with them all sitting in front of me, I feel a sense of deja vu. There are some changes, of course, Roger Taylor’s hair is shorter, Giselle Jones is wearing jeans and a sweater rather than her well-known cocktail dress, but John Deacon’s still smiling at me, Brian’s looking about the room, perhaps seeing if anything’s changed, and Freddie Mercury’s draped casually on the left of the only non-Queen member of the bunch.

But before I get into the past two years, maybe I should take you back a bit, to when Giselle and Queen began collaborating.

Giselle Jones began in the late sixties as the front-woman of a swing band in a thirties theme pub known as Modern Glamour. Tall, elegant, with a voice like honey, she had a small following of regulars that frequented the pub, but had kept her passion from music from her family, claiming she was merely a waitress at the establishment, since her father was an executive at EMI, and she didn’t want to seem like the subject of nepotism.

However, one fateful day, her father brings music industry giant to the pub for lunch, hoping to catch Giselle at work and introduce her, but as you know, they both got a lot more than they bargained for. Foster sees potential in her, and offers her a contract if she’s willing to modernise her act, and as we all know, she does.

When Giselle releases her first album in 1970, Velvet Roses, which would be the first and only “Jazz” record to hit the Top 40 charts for that year, Queen are still playing pub gigs around London, though they’re looking at recording their first album, which would eventually get EMI’s attention, but that’s still not for a while. At this point, they’re the biggest fish in a very small uni-pub pond, and they need the means to grow. So out goes the band’s van, for one night in a recording studio.

“Like, in retrospect, of course it was the right decision.” Taylor leans against the back of the sofa he’s sitting on in my office in 1982, voice contemplative and fingers locked together as he looks into the past. “But I was twenty-two at the time, selling my van was a big deal.”

“A big enough deal that you wrote a song about it.” Giselle adds, sitting beside him in the middle of the sofa. Deacon hides a smile though May doesn’t hide his snort of laughter.

The smirked remark is at odds with her look. While the boys are all in various states of brightly patterned shirts and jeans, looking casual and comfortable; Giselle wears white, sequinned, off-the-shoulder gown that hugs her figure and hits the floor, a slit in the thigh where her leg crosses, dark skin a stunning contrast to both the white fabric of her dress, and the leather of my sofa. Hands folded in over her knee, there’s not a singular hair out of place where she’s got it slicked back; I can’t look at her directly, she’s so focused and well put-together that it’s like staring at the sun.

The contrast has always been apparent in their various works, though Mercury has, in the past, cited her as an early inspiration for his desire to add a certain classical gravitas to rock and roll, and though she hasn’t publicly stated anything, the amount of covers Giselle has performed lived could fill an album. And now, here they are, about leave for a double-billed tour of the US, which I have been asked to join.

But their connection goes back much further than this, all the way back to 1975, to the release of the smash-hit single Bohemian Rhapsody That very same year, Giselle releases her fifth single, Dinner and a Show, a lyrically dissonant, heart pumping anthem that’s a metaphor for the way any type of review fuelled her, since it meant people were talking about her work.

You serve yourself on a platter; your putrid delights, / yet how can I refrain? / You don’t come to flatter, you don’t want to go / so come on baby, / don’t you know? / You’re treating me to dinner and a show.

Giselle’s usually silky performance is turned into a masterclass of vocal gymnastics as she slides easily from the rough intensity of rock and roll, to the smooth purr of jazz as she sings about eating critics for breakfast.

They say a free mind makes the meat so tender / now you’re on the menu and I’m a big spender

The song itself comes as a response to her former manager about how her “aggressive” move to music that more stylistically rock and roll was alienating older audiences, though Foster, still her producer at the time, was pushing for her to skew to a younger audience, and it seemed as though he had gotten his way.

The real change, however, was the B-Side of the record. After speaking to Jim “Miami” Beach, Queen’s lawyer, regarding potentially covering one of the band’s songs, Giselle reveals that she was eventually told to just ask them directly.

“I gave Miami a letter that basically explained that I’d like to cover one of their songs for my new album,” Giselle gives me a thin smile, and I feel like I’ve done something wrong, even though I’m assured by Brian that her public persona “is just like that sometimes”.

“- and I thought it was a joke! I said ‘yeah, sure, what’s the worst that could happen’.” Mercury laughs, leaning forward elbows on his knees and eyes shinning with amusement. “I did not believe for one second that Giselle, Giselle-” repeating her name for emphasis, his hand comes to quickly rest on hers where she still has them perfectly still on her knee, a moment of solidarity, “wanted anything to do with us. Hand Held Heart had been at the top of the US charts for almost three whole weeks the year before.” Letting out a long, wistful sigh, Mercury sits back, still grinning, though he’s got this far away look on his face now.

“So we’d been stuck on a farm, recording A Night At The Opera for weeks with no outside communications, ” May fills in where Mercury’s faded into his own memories, and Taylor slings arm around Giselle where she’s actually relaxed somewhat, hands now in her lap. Curiously, she doesn’t shrug him off. “And when we get back, it turns out that she’s put a jazz cover of Jesus, yeah, that song from our first album, on the B-Side of her newest single.”

“Freddie practically had a heart attack.” Deacon adds, patting Mercury’s shoulder fondly.

In her own way, she was continuing the trend that Dinner and a Show had started, and that seven-inch single would bestow upon Giselle the title of Queen of Jazz Rock. It hadn’t been the first time she had acknowledged the band publicly, by the time she had released the single, her public persona had gained enough traction that, a few months prior to her recording of the cover, a reporter had asked if Killer Queen, Queen’s biggest hit at the time, had been written about her. The question had been caught on camera by the reporter after one of her tour stops in the Midwest of America; the footage is a favourite of fans, including myself, of the way she doesn’t even turn, simply calls over her shoulder, ‘they should be so lucky’, and she gets into her waiting car.

“I never took offence,” Mercury tells me, both in 1982, and 1985, as I bring it up both times to consolidate the origins of their musical partnership.

“You wouldn’t, you were all starry-eyed for her back then.” Taylor leans back to address Mercury behind Giselle’s head, but only when he says it the first time, in 1982.

“It was a bit of a dig at us,” Deacon agrees with the drummer, nodding before shrugging. “A lot of good came out of it, though.” The others seem to agree, but Giselle herself has stayed quiet. For the first time since the interview started, she looks away from me, gaze dipping as she seems inclined to speak, though she takes her time to weigh up her words before she says them, wondering exactly what will and will not be printed.

“It was a bit of s**t thing to say. I was twenty-four and I panicked, I had to keep up my... this persona.” She gestures now to herself, breaking the entire physicality as she lets herself lean back, and I feel like I can breathe, seeing her act so human. Adjusting, she lets herself rest of the slightest of diagonals, shoulder to shoulder with Taylor’s arm still around her, now with Mercury petting her knee in solidarity.

Once in the tour bus, the difference between Giselle Jones, the woman, and Giselle, the singer and personality, becomes almost jarring to see. As soon as we get into the bus, she strips off the gown she was wearing, I turn away, though the others don’t seem to be bothered by it, May takes the dress to a waiting assistant by the door, and when I turn back, she’s in a pair of sweat pants and Taylor is tossing her shirt several sizes too big for her. For the first time since I’ve learned about her, Giselle looks comfortable, looks approachable and, for lack of a better word, non-robotic, taking a hairbrush from a drawer and flopping onto one of the beds as she brushes out the gel, apparently not bothering with a shower just yet.

“I showered this morning.” She seems to have caught my confused look, and explains herself. With her guard lowered in the familiar situation, her natural voice shines through, a rich, yet feminine alto, reminiscent of her singing voice. It adds to the list of things that add character to her beyond what her “persona” could ever convey. Or perhaps that’s the point.

The bus itself is almost too small for the five performers, and I’m certain it won’t fit me, but Giselle and I watch as they cram a blow up bed onto the kitchen table. It looks stable, and for the opportunity to experience living in such close quarters with such big names, I’d take anything.

“Sorry, darling, Paul takes the only spare bed.” Mercury informs me as I shimmy up onto the bed to test if it would hold. I had thought that the vehicle was at capacity, though it does make sense that the band’s day-to-day manager, Paul Prenter, would be travelling with them. That being said, I hadn’t realised there was even a spare bed, there was only five, perhaps none of them had wanted to be subjected to the blow up bed and decided to share instead.

When we finally get on the road, I get to finally see their true dynamics emerge. We all know the Queen dynamics by now, brotherly yet volatile, at times. I had worried for Giselle at times, the concept of living with four men (five if you count Prenter, who Giselle does not seem to, when I ask her about it, though I don’t think that’s a subject I should pry about, judging by the look on Taylor’s face where I can see him lounging at the back of the bus). However, I should have not have been worried; first of all, despite the youthfulness of their appearances, performances, and spirit, these are all men in their 30s, Giselle herself being 31 at the time of writing (1982), and they all have experience living with women, and with each other.

“First tour was a nightmare.” Deacon’s joined me on the blowup bed, is sipping tea as we travel along. “We learned real quick how disgusting close quarters can be.” He’s a quiet soul, but observant, and honestly I really enjoy his company. Anyone who can weather over a decade of rock and roll and come out as calm as him deserves some sort of recognition. “It’s much better now. Mostly.” He smiles like it’s an inside joke, but won’t elaborate. Giselle and Taylor refuse to clarify what he means by that, May just laughs when I ask him, directing me back to ask Taylor and Giselle, and Mercury calls them all gossips.

It’s something about the tour lifestyle that must bring out the childishness in them all, which comes out strongly during dinner. They shove my blowup bed into the sleeping quarters when dinner is served, and the five of us manage to cram into the tiny booth the bus allows. May, Deacon and Giselle are in charge of cooking dinner, sausages, potatoes, and peas, since apparently Prenter and Mercury have taken lunch duties, and Roger has put himself in charge of getting coffee and tea for everyone in the morning.

“We should really eat breakfast.” Giselle muses through half a mouthful of food.

“I do!” Deacon, next to me, comes back with, pouring some more peas onto his plate.

“You just eat cereal from the box, Deaky, that’s not breakfast.” Taylor counters him, which just causes the rest of the table to devolve into an argument about what counts as breakfast. Prenter, who has joined us for the meal, looks like he’d rather be napping or still driving, and makes quiet work of his meal.

Roger Taylor goes to sleep after me, and wakes up before I do, and I’m not sure how he does it. Or where he sleeps, the other beds seem taken. He wakes me up on the first morning by shoving my bed, which slides a few centimeters, but isn’t about to fall off it’s perch.

“You want coffee?” I’m barely functioning at this point, and his question baffles me. “Tea? Coffee? Deaky’s cereal? We got some left over sausages.” He lists off, probably due to my clear confusion, he seems exasperated, even though he’s definitely wearing pyjamas too. He’s still scowling a little when I tell him how I like my coffee, but he doesn’t complain, and it tastes exactly like I like it when he hands it over. The bus is stationary, so he can put the cups by the bedsides of those they are for, but interestingly enough he joins me on the table/bed.

I know the origin story of Queen, I think everyone does at this point, so I ask him instead about the subject of my article; how Queen got involved with Giselle.

“You wanna know how I met Giselle?” It’s not exactly what I asked, but he’s already thinking about it, looking past me to the sleeping quarters with a frown. He plays absent-mindedly with the chain around his neck, and with the ring attached to it. “I thought everyone knew about that, the whole thing where we hated each other from the start?” When I ask if it was true, he actually laughs, though it’s more a snort of derision, if I’m being honest. “Of course not. Mostly.” They all seem to like that word, I hadn’t taken them all to be vague.

“I told him to take a long walk off a short pier.” Giselle will clarify for me later that day, joining me as I take a smoke break at one of our bathroom stops, not that there isn’t a toilet on the bus, they just try to avoid using it as much as possible. She doesn’t smoke, claims she never has, but enjoys the company, while the boys are buying snacks at the gas station. I ask when it was, she gives me another thin smile, but not like it had been in the office. Here it’s the punctuation to an earlier joke rather than a judgement.

She tells me about how she actually met them all, recording her second album, after her 1972 performance on Top of the Pops, you know the one. It had cemented Giselle’s now iconic aesthetic of an off the shoulder, floor length sequinned gown, silk gloves, and bold red lipstick, dark hair falling victory curls, the whole look reminiscent of an old Hollywood star, though there was red glitter trailing from her lips, and on her gloves in a theatrical fabrication of blood. It had been a look inspired by her musical roots, and the theatricality of the then-popular glam rock, a movement which would inspire many of Mercury’s tour looks also.

She was twenty-one at the time, still “developing her persona”, when she found that the in-house recording equipment at EMI was being used by the then-still quite unknown Queen. Or rather, according to Giselle, just Taylor.

“He was packing up the last of his equipment, and he makes a pass at me, thinks I’m an intern.” We can see the boys leaving the gas station, Taylor himself heading the pack. “So yeah, told him to take a long walk off a short pier.” She laughs, seems to hold the memory quite dear. “That b******d has the gall to look me in the eyes and ask who I am.”

“Did he know who you were?” When I look at her, she’s still smiling, tipping her head to the side as the boys draw close. She seems to be paying attention to me, but not a lot.

“Yeah, told me later he was just pissed I didn’t throw myself at him. That’s why I said that, ‘they should be so lucky’ thing, actually, that motherf****r right there.” The way she says it, raising her finger to point at him, makes me think it’s a story she’s told before, one that he knows about.

“You talking about me?” Taylor yells, and Giselle is quick to answer that she is. “Don’t spill all my secrets.” It sounds like an order, but his smile says it’s not, it’s weirdly playful, a dynamic I didn’t expect from them, especially considering their history. I raise the point. She laughs at me.

“You’re kidding, right?”

Prenter calls for everyone on the bus, and Giselle doesn’t think to clarify once we’re back on board.

The tour, I should have mentioned earlier, is a double feature; Queen is promoting their album Hot Space, while Giselle is promoting her own, The Bend Before the Break. When I ask her about the album itself, she talks happily about a few of the songs, however when I bring up my personal favourites, Ache and Heaven Sent, she turns very quiet.

I will end up watching most of her performances, and to this day, I have never seen something as raw and spiritual as Giselle performing Ache.

The lights dim as the joyful Meant to Be finishes. On the studio recording, a double bass starts the song, long, grieving and angry notes that pick up in tempo as it’s joined by drums and a piano, and finally, her voice, low, bitter and seductive in equal measure. Here, there’s silence, as she gently croons the open lines, face illuminated by only a single gold light, as swirling red and purple lights move about the stage.

While saying you were sorry, / you burned me from the outside, in. / Now I’m calloused all over, / And too tired to feel the sting. / But I feel the ache, / feel the ache / feel the ache. / I’ll still let you back in.

She plays the piano herself for this song, a skill, I later learn Mercury had taught her many years ago. It’s a song that tugs at your gut, gets you thinking about how you keep people in your life who aren’t the best for you. She ends the last chorus with a long, mournful wail that you feel in your bones.

I’ve never heard a crowd so quiet as when she finishes Ache, the penultimate song of her set list, unless you count encores.

The final song of the night is always Heaven Sent, a bright, headbanging anthem with the musical gravitas of a full jazz band. It was her single from the album, it topped most charts. You know the one. The radio won’t stop playing it.

Divinity with a neon glow / it hung above his head, / promoting his next show. / Didn’t even try to find my light, / just the darkness he’d bestow. / Heaven sent me the Morningstar.

“I was cheated on.” Was all she will say about the songs.

The others steer clear of those songs as well, when talking about the album, as well as the titular song, The Bend Before the Break, though Giselle claims she has moved on from the feelings associated in all three songs.

“I wrote them first on the album, I’ve moved on.”

Each of the boys seems very protective of Giselle at times, though Taylor is by far the worst. If I’m being honest, was weird to me, they’d been at each other’s throats publicly and professionally for almost a full decade after Giselle’s initial comment, however the vitriol had died down in the past few years, so I enquire about that about halfway through the six week tour.

“We set them up.” May is the first to answer, sipping tea with myself, Deacon and Mercury. Since both Giselle and Taylor adjourned to the sleeping quarters. I ask him what he means.

“They tell it better.” Mercury interjects, but May argues that they’re asleep anyways so it’s not like it matters. Deacon agrees with Mercury, but quiet enough that May ignores him.

“So by ‘79, we’ve collaborated together, us and ‘Zelle, I mean,” the nickname is mostly used by May and Taylor, though Deacon uses it on occasion, “a couple of times, and we love her, right boys? We love her-” looking around, both Mercury and Deacon are nodding along, responding to a story they’d both heard before, though it was interesting for my first time hearing it, “but Rog is about ready to stab her with his drumsticks, but that’s just how he is.”

“Threatened to stab me once.” Deacon adds the unnerving information with complete serenity, focused on his cup.

“Me a couple of times.” Mercury shakes his head, as if it were some schoolboy prank rather than a stabbing threat.

“Like I said, just how he is. So we decide to send them to a place where they can bond over complaining about everything else, apart from each other.” I asked how it worked out for them and I watch as their faces fall. This terrible blind date idea must have gone horribly. “They hate the restaurant, which is good, but he goes to leave and bumps the table, spilling beer all over her dress, which is bad,” well, obviously. He pays me no mind, “and she elbows him in the face when she’s putting her jacket on - still don’t know how that one happened - but he still says he’ll take her home because it’s late, except-”

“To preface,” Deacon jumps in here, adding a little more milk to his tea, “she hates I’m In Love With My Car.” The song? Deacon nods. “Rog wrote it.” I can connect the dots, but I’m still confused as to how that lead to them being friends.

“Friends.” Mercury actually laughs into his cup.

“He takes her home anyways, she tells him the song’s s**t bu the sentiment wasn’t far off.” May finishes, shrugging.

“It was a real nice car.” Deacon shrugged, before looking straight at me. “And she still hates the song to this day.” There’s an air of finality to his words that is entirely unwarranted. That isn’t the point of the story; how are they friends now? Did they hook up in his car? Is that what they’re implying, I feel like such a gossip asking these questions.

“Did they ho- ? Yeah, of course.” May laughs, and though it clears some things up, I’m still rather confused. It’s probably reading on my face, because it looks like something else is dawning on him. “You know they’re married, right?”

No. No I did not know. Now I feel like an idiot.

I wonder if The Bend Before the Break is about Taylor? I can sense I’ve touched a nerve when I ask, and Mercury abruptly changes the subject, though the air still doesn’t feel right. When I head back through the sleeping area to get a new pen from my luggage, I catch a glimpse of Giselle napping in her bunk, Taylor too, asleep with his arm around her. She’s even wearing a wedding ring. I’m kicking myself for not noticing sooner. The chain with the ring around Taylor’s neck makes sense now. A lot of things make sense now.

For the next four days I feel like I’m being shunned, I’m the last to be told about dinner and have to eat the leftovers, Giselle barely says two words to me, Taylor just keeps glowering, and someone let the air out of my bed on the second night. It’s childish, but it’s in line with what I expect from them, regarding this sort of issue, I’m just glad Taylor hasn’t poured my coffee on me in my sleep, or spat in it. He just didn’t make it, which I suppose is probably the safest option for me.

The only apology I can think of is to offer to buy them all drinks, but it works well enough, and the next morning I wake to a fresh cup of coffee, and a very hungover Taylor. At least he’s dedicated to his job.

The rest of the tour passes without further incident. I still stand by Ache as one of my favourite musical performances of the decade, though I don’t mention it to Giselle, and now that I know the dynamic between her and Taylor, I can’t stop seeing it. Honestly, readers, they’re all over each other, which is expected from a man of Taylor’s reputation, but it’s still a little jarring to see the two of them so cozy. I must have been blind not to see it before.

When we part ways, Giselle is a little stiff with me.

“You brought up some feelings that I just... hadn’t actually dealt with at the time, which f******d me up.” She tells me in retrospect, sitting in my office with the rest of the boys in 1985. Live Aid was a few weeks ago, and since they all returned to the spotlight, I asked if they wanted to come and reflect on the past few years. The one thing that hasn’t changed is the fact that Giselle still swears like a sailor.

“A lot’s happened in the past few years.” Taylor’s still very protective of her, and after everything that’s conspired, at least from what I know, it’s warranted. We talk about the band splitting, how it had hurt the band as a whole, and even Giselle, who was at the time seeing a counsellor with Taylor. I’m hesitant to broach the topic of their relationship, though they seem like a solid until now, sitting before me, holding hands and leaning against one another.

I ask if Giselle’s breakdown was due to the band splitting, though I’m hesitant if I’ll get a response. Her smile is sad, which is mirrored by the rest of the band. I can guess her response before she says it.

“No.”

You all know the moment I’m talking about, the last concert for her last album, as of this publication, Finally, Sunlight where she had receive pleas from the audience for an encore. When she came back out, part of her makeup had been smudged around her eyes, and you can hear her sniffle over the microphone. (”I’m so sorry, I lost someone close to me, I thought I could keep it together for one night.” Dabbing at her eyes, she sits at the piano and laughs, but there’s no heart in it. “But I’ve got five more minutes left in me, let’s go, Atlanta.”) The song she plays is Somebody to Love, a slow, soulful cover, and the audience is almost unanimous in their raised lighters and slow swaying. As she goes on, she just starts crying harder, missing notes, hands shaking; the extended ‘Looooord’ before the chanting becomes a desperate wail, a plea to the heavens, and she collapses onto the piano, sobbing audibly as the instruments all come to uncertain halt and lighters go down in confusion.

From the crowd, a single voice begins to chant ‘Find me somebody to love. / Find me somebody to love.’ and a single voice turns to a theatre, full to the brim, as they sing when she can’t, still crying against the piano. Lighters go up, and together the audience and the band finishes the song where words have failed her. It was televised locally on the night, and still brings me to tears when I watch it now.

“We lost our daughter.”

For those of you reading this who are shocked, I am too. Sitting there like a fool, not saying anything.

“I was on tour, and Rog was at home with her,” even now, Giselle is getting a little teary-eyed, not that I blame her. Both Taylor and Mercury have an arm around her, and May has a hand on her shoulder, Deacon sitting on the back of the sofa right behind her. A unit. A family. “I wanted to go home, she was getting really sick, and I know he was doing everything he could, but I just- I wanted to be there... but my label threatened to sue me for... millions.” It sounds like it’s hard to say, and she’s wiping a tear from her eyes. I offer her the tissues on my desk. “But I should have gone home. I should have been there by her side, I should have done more.” Taylor whispers something to her and she leans against him, taking comfort in him.

“I had to call her, tell her that... that she’d passed. The day of the show. She’d been so upset for week, ‘Zelle that is, and everything just-” Taylor manages to get a great handle on his emotions, despite his misty eyes and shaking hands. “We’re alright now though, see? Nothing can tear us apart.” Though his voice does drop, so I think he’s saying it more for Giselle’s benefit. I give them all time to collect themselves, stop to get hot drinks for everyone, and everyone finally seems happy enough to answer when I ask what’s next for them.

“Music, of course.” Mercury says, now holding what was Giselle’s free hand. The rest of the gathered musicians agree. I ask if we’ll be hearing any sort of collaboration between Queen and the Queen of Jazz Rock. Taylor snickers, pulling Giselle close.

“Yeah, but not in the way you mean.” He ignores the rest of the men’s shouts of disgust, as well as his wife’s own gagging noise, which I can see on her face she regrets as she covers her mouth with caution, before giving the okay.

“No, we’re okay, we’re good.” She assures everyone, before looking at me. “What he meant to say is that I’m pregnant.” She clarifies. Taylor is still grinning.

“Don’t be gross, Rog.” May calls from the other side of the sofa, and Taylor has the gall to look accosted.

“What’s next for me, after everything that’s happened, is family.” Giselle says over the sounds of her husband’s indignant huffs, though his expression turns soft at her words, and they ignore the ‘boo’s of everyone else as they kiss.

“Could you be less gross around company?” Deacon asks, still mild-mannered as ever. This seems to be the cue for the interview to end, as Taylor of Giselle-

“It’s Giselle Taylor, by the way, I’m sorry I hadn’t corrected you earlier.” She corrects me now, as [Roger] Taylor leads her out of the door. The rest of the band seem mildly exasperated at their antics, but still ready to answer my questions. After everything that’s happened, I’m a little overwhelmed, I’m not sure where to go from here.

Perhaps my next article will be on Live Aid.

#roger taylor #roger taylor imagine #roger taylor x oc #queen #bohemian rhapsody #borhap #bo rhap #queen imagine #freddie mercury #brian may #john deacon #the angry lizard writes #bohemian rhapsody imagine

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allofbeercom · 6 years ago

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Can Adele fix the broken music industry?

Unless you fell into a post-holiday food coma, you know that Adeles album25just sold more copies in its first week than any album, ever. The average human being had been conditioned to believe this was not possible in 2015.

Remember that narrative?Napster destroyed the music business, the iPod stopped the bleeding, digital and streaming services are still nascent, and a Google search can find anything for free, so the good old days of multi-platinum records are pretty much gone.

On the heels of her first single “Hello,” Adele waved goodbye to that doomsday line of thinking, crushing decades-old sales records by such a distance that, if she were an Olympic athlete, wed immediately assume she healed her damaged vocal chords with PEDs. Putting aside certain idiosyncrasies of Adeles album buyers (it turns out old people still buy CDs!), getting more than 3.8 million people to doanythingin the same week is a triumphant feat.

The ripple effect of Adeles astonishing sales figure is already visible. This past week, Rihanna and her management made a last-minute decision to postpone the release of her new album,Anti, at the apex of the heaviest consumer spending moment of the year. It turns out the shadow of Adele is the one umbrella Ri-Ri wont stand under.

And who can blame her? Between Adeles album sales and Taylor Swifts cultural and touring dominance (FYI: She played to a stadium full of 76,000 people in Sydney last weekend), its tough to stand out at the moment, even for Rihanna, one of Forbes top 10 grossing female artists. Despite working in a music industry with a dearth of women in meaningful executive positions, the strength and power of female artists has never been more profound. And unlike Hollywoodwhere thanks to the North Korean email hack of Sony and a courageous Jennifer Lawrence, we now understand the starkness of the gender pay gapfemale musical artists get paid on par with their male counterparts. In music, the entire ecosystem earns a sizable percentage of whatever the artist makes; record labels make a percentage of album sales, promoters make a percentage of ticket sales, merchandisers make a percentage of T-shirts sold, and so forth. Which means we are at a unique moment in history where A-list women hold much of the real power in the music business.

The strength and power of female artists has never been more profound.

So what will they do with it? And how does their massive success shine a giant spotlight, for better and worse, on everything thats happening with the music business and the streaming business and the concert business and artist representation right now?

Adele and Taylor started this upheaval by each flexing a particular muscle that belongs to them and them only. Taylor used her pen as the sword, bringing the mighty Apple to the bargaining table to pay artists for streams during the free trial for Apple Music. Adele turned herback on streaming services to break an album sales record that had stood since Justin Timberlake was fronting a boy band with Britney Spears on his arm. But beyond the PR success and ego boost thats generated from seven-figure first-week sales numbers, these efforts did little to make a lasting impact on the business of music.

Like the rest of the news cycle, we celebrate heroic outliers, write think pieces, marvel at the numbers, and move on within the confines of the same old structure. As President Business from The Lego Movie would have us believe, everything is awesome. Only it isnt. While artists have done much to break through decades of exploitation and capture more of the value they create, the fan experience in most facets of music consumptionlive and recordedremains unconscionably broken.

Nowhere is the dysfunctional tension between Los Angeles/New York-based content creation and Silicon Valley-based technology more on display than in digital music services. In the Valley, we scoff at companies that ship their org chart in a product. (Note: Microsofts Steve Sinofsky who coined this phrase for mass appeal, and for some time it was Microsoft who was guilty of this en masse.) You can tell when groups within or outside a company arent working well together based on the way the products features play wellor dont play wellin production. This is displayed everywhere in digital music from convoluted hardware options and endless interconnected devices in the home to cutting-edge software that never seems quite ready for primetime. In particular, Apple Music still feels like a house built on the foundation of an old home that the owners never wanted to fully tear down for tax purposes. The compromises and technical debt are palpable.

The fan experience in most facets of music consumptionlive and recordedremains unconscionably broken.

But those issues pale in comparison to the evolving royalty structure in musicbasically, the agreements for how much artists, labels and songwriters get paid when you buy or stream a song. Without hit music from the Taylors and Adeles, those subscription music streaming services are essentially useless. Even if they have the best user experience for fans, without music that matters, their core proposition (the music you want for a flat monthly fee) becomes completely hollow. Disappointed fans know theyre being misled, especially when YouTube and BitTorrent offer even the mildly unscrupulous a holiday table cornucopia of free access to all the music on earth.

We know the economics of music streaming are still being sorted out, but we also know this happened with video content a few years agoand, eventually, major players like Netflix, YouTube and Hulu figured out how to window content, present it exclusively,and generate their own product. If music follows that model, then the biggest artists will sell their exclusivity to distributors like Spotify, Apple, YouTube/Google, and others. Our best asset to help that happen? Just keep complaining about this stuff.

What we are seeing and (not) hearing now as fans is the very public sausage making of a new recorded music revenue model, the loudly creaking rusty hull of an antiquated ship turning a bit too quickly in a swift current. For most of us downstream, it creates a suboptimal listening experience and never-ending frustration.

And its only worse with live music, where artists now make 70 to 90 percent of their income, despite a gallingly offensive fan experience.For one thing, the industry continues to lie to fansblatantlyabout the price of tickets until the very moment of purchase.An upper deck ticket for the Demi Lovato and Nick Jonas tour in Los Angeles on Sept. 17, 2016, is currently available on Ticketmaster for $49.95. After a $15.30 service charge, the actual price of that ticket is31 percent higherthan advertised. At StubHub, where between buyer and seller fees the ticket is routinely marked up 25 percent, the company tried to show pricing all-in. But after competitors didnt follow suit, StubHub reverted back to the draconian way of tricking fans into moving down the purchase funnel by baiting them with a lower price point, before dropping fees on buyers at checkout. Most artists are consciously (or navely) complicit in this dirty game. Many touring deals for large artists stipulate that artists are paid more than 100 percent of gross ticket sales. How can this be? Its because the promoter and venue make their money off of parking, beer, sponsorship, and importantly, service fees.

This wont change until fans start pressuring the artists to facilitate that change. Artists are intensely sensitive about their brands. With social media giving loud voices to all, artists are hyper-concerned with criticism for high ticket prices even though they have historically enabled a service fee system that exploits their fans. Its why so many good tickets often make it into the hands of brokers from venues, promoters, and artists directly. Ever wonder why you see so many VIP packages for sale? Theyre designed to charge market price for a ticket with a few low-cost add-ons attached. So why cant artists own their income desires and get paid what they are worth, or alternatively restrict transferability of tickets to ensure that fans get in at an artificially low price? Service fees are an extension of the ticket price, so why arent they presented as such up front in the buying process?

Apple Music still feels like a house built on the foundation of an old home that the owners never wanted to fully tear down for tax purposes.

All of the carnival barking about ticket prices comes against the backdrop of a swelling period of time between the onsale of a concert and the actual show date. For the concert example above, a fan buying four mid-level tickets would be putting down more than $400 of his hard earned money10 monthsbefore the show. That same week the tour plays a Wednesday night in Albuquerque, New Mexico. Who the heck knows what theyre doing on a Wednesday night 10 months from now in Albuquerque? The answers fall into three categories:

I dont.

Im one of the few passionate fans who will move my schedule around this show and give you my money ten months in advance.

Im a ticket broker, and Im buying bunches of tickets now to arbitrage and capitalize on all the people in #1 above.

This practice of ridiculously early sales has been expanded by the industry to bank money early, test demand, and reduce risk. Do they care that the best tickets go mostly to brokers, that fans pay more money than they otherwise would, and that the most passionate fans lose out on 10 months of interest on their money? Of course not. Were moving backwards.

The big question: Is all of this a calculated plan by the music industry to keep things as unfavorable for fans as possible, or can we chalk it up to sheer incompetence?

The recent Paris tragedy reminded us that the music industrys obligation to provide a better experience for fans are growing ever more urgent. The attacks on fans at a concert hall and a sports stadium were the manifestation of a longstanding fear we had at Ticketmaster about live eventscrowds are so much more vulnerable than we want to believe. We already learned this in air transportation after 9/11; 14 years later, we collect loads of data and restrict transferability of tickets between passengers boarding a 200-seat airplane. But with 80,000-seat stadiums, we continue to do almost nothing. With the use of cash, paper tickets, ticket reselling, and an average of almost three tickets-sold-per-order, upwards of 90 percent of individuals entering an arena or stadium can be unknown to event organizers.

The entire paradigm of music distribution is staring down the barrel of an evolutionary leap.

There are common sense solutions that would make live events safer for fans. By reimagining a ticket as a digital access credential replete with identity, payment, and location metadata, we could do the forensic work before and after events to identify bad actors. This need not restrict ticket transferability or resale; it simply means maintaining a centralized system of record where tickets can be sold and the data associated with buyers and sellers infinitely logged. Existing and emerging technologies, including blockchain, are candidates for handling this challenge. They can also prepare us for the dawn of virtual reality in live events, ensuring this technology becomes incremental and not cannibalistic to the artists live performance. To do so fully requires sunsetting the idea of a ticket as a piece of paper; identity and access can be tied to a phone, a card, or a fingerprint.

Guess what? This is precisely the course of technology across most consumer products today. Like other products, these advancements have the happy consequence of actually improving the consumer experience. This data can serve to personalize the live experience for each fan before, during, and after the event. It could allow artists to over-deliver on an experience for which they are charging astronomical sums, up to a year in advance. As usual, we fell way behind the curve in the music business. So maybe this is about incompetence over anything else.

Indeed, the entire paradigm of music distribution is staring down the barrel of an evolutionary leap. Twitter, like its many mobile social messaging peers from Snapchat to WeChat to Line to Instagram to Facebook, is really a direct-to-consumer distribution channel that could fundamentally transform the relationship between artists and fans. Katy Perry has 78M Twitter followers, Taylor Swift has 67M, Rihanna has 53M, and Adele, essentially without even trying, has 24M. Roughly half of the 100 most-followed accounts on Twitter are artists, and the technology is now in place for artists to commercialize their follower relationships by selling songs, tickets, and T-shirts directly on these platforms. Twitter led this effort; others followed suit. Its the fastest way to remodel the entire music industry. Any artist who pined for more control over the distribution of their art, as well as the artist-fan covenant, have the powers at their disposal to take command.

Which brings us back to what we learned this week, and this yearthat the biggest artists (including these stellar women who showed their might) have real leverage and real power right now. If they wanted, they could change a sedentary, broken industry. Conventional wisdom is that Adele is an outlier, capable of holding out for her own good but not much more. What if Adele, Taylor, and other elite artists united to force progress for all? Athletes in major sports leagues banded together. Actors held their own. So did screenwriters, directors, producers, and show runners. Music seems to be the only branch of entertainment where the collective voice of creators is mute.

The underlying driver of this silence is artist fragmentation. It is the key environmental factor upon which the 20th century music business was constructed: allow rare stars to extract their pound, but keep the bulk of the talent uncoordinated. Beyond the occasional telethon, its rare to find examples of artists working collaboratively for a cause at scale. Why is that? The leading culprit is that artists have traditionally outsourced a lot of their business decisions to their managers. Now that the time travelled from anonymity to stardom has shrunk to mere months, and artist-as-entrepreneur is a near requirement for success, the role of the artist manager has taken on increasing importance.

Sadly, management remains as fragmented and cutthroat as the days when Colonel Tom Parker was shepherding Elvis. In many cases, the speed to stardom brings along in its slipstream a relatively unsophisticated crew of hangers-on surrounding the artist. Cousins, classmates, boyfriends and the like, with little to no experience become entrusted with decisions that can impact decades of an artists revenue streams. Because most managers are paid on a percentage of the artists revenue streams, near-term money is usually prioritized ahead of long-term career value for an artist. Partnership and collaboration gets lost in fears and insecurities about acts being stolen away by other managers. Even the more sophisticated and professional managers suffer from the epidemic of the shark tank. Irving Azoff (Front Line Management) and Coran Capshaw (Red Light Management) are the two managers who have assembled artist management companies with meaningful scale. Ive apprenticed for them both, and they are excellent at what they do. But competition for the artists they manage (or would like to) remains high, and for their own business self-survival they are perpetually on alert. They do not operate in an ecosystem that fosters cooperation.

Music seems to be the only branch of entertainment where the collective voice of creators is mute.

Even the law works against artist representatives working together. California passed a law in 1978 called the Talent Agency Act that effectively says a person cannot be a manager and also book an artists tour. In practice, artists must carry both a manager and an agent, fragmenting the power of decision-making (and also the artists income). Entire cottage industries have been built on this church-state separation. Alliances are routinely built and broken between agencies and managers, further fueling the lustful competition and mistrust between artist representatives. One can surmise this is generally the scene that inspired the late Hunter S. Thompson quote: The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. Theres also a negative side.

Yet the opportunity for artists in the music business today is wonderfully beyond what even Thompson could have imagined (or hallucinated). And so it rests, finally, on the shoulders of artistsand the biggest ones, at thatto wrest control of this shallow trench of an industry away from those who have kept it in a state of morass, and give it depth. All that stands in the way of advancing the industry forward is overcoming the fragmentation within the artist community today.

And thats why Adeles eye-popping success last week is so confounding. Why, exactly, did she show her strength? The cynic will tell you it was for the money. But just as she could care less about what you think of her weight (somehow I dont expect the press to repeatedly address Chris Martins post-breakup body fat when the Coldplay album drops this week), she seems unmoved by the chance to make a few extra pounds. Which leads to the conclusion that like the rest of us, she falls somewhere on the scale between competitive and vain: She withheld her music from streaming services explicitly in search of setting a mark that none of her peers or predecessors ever did.

Having vanquished them now, will she flex her muscle for more than just the charts? She seemingly has willing partners in this effortin Taylor Swift and many of her now powerful female counterparts, as well as popular artists like Jay Z who have made recent business strides around artist empowerment. In so many ways, Adeles sales figures are less about her, and more a reflection of the continually crescendoing role of music in peoples lives.

In spite of all its dysfunction and fan neglect, our follower graphs on social networks hint that our accelerating interconnectivity is still threaded together most tightly by music. By following suit and binding together in this moment, Adele and the artist community can move the business and experience of music forward for all of us. As the Beatles knew: Come together, right now. Records are made to be broken. Adele and her peers have the chance to be indelible.

Nathan Hubbard is a former touring and recording artist, former CEO of Ticketmaster, and current head of commerce at Twitter. A version of this story was originally published on Medium and has been reprinted with permission.

Screengrab via AdeleVEVO/YouTube

from All Of Beer http://allofbeer.com/can-adele-fix-the-broken-music-industry/

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apsbicepstraining · 7 years ago

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TLC:’ I will never forget the day we were millionaires for five minutes’

On the comeback trail, the 90 s megastars reflect on bankruptcy, diverting down Britney and what Lisa Left Eye Lopes would be like on Twitter

TLC are in the back of an Uber XL in the middle of Londons Oxford Circus, sunshine streaming through the windows, with a hottie standing in full view at the crossing. Jesus! Did you look at this guy? Lord have mercy. Why didnt you get his ass on camera? He is byoo-tee-full . Traffic and exchange is gridlocked; Chilli craves her bandmate T-Boz, their cameraman, makeup artist, press officer, the operator and me to acknowledge the drop-dead sumptuous specimen, beefy in muscle and hyper-groomed of look, outside the window.

Look, hey, I desire somewhat guys, but come near now, you are able to grant it up. Tell the truth.

I shrug, ambivalent, and “re just telling me” hes not my category. T-Boz, who has spent the last few minutes scratching her knuckles reminiscing about the fights she used to get into, constricts her attentions. What ?! she says. What is your character? Why dont you tell us what your category is? Even if hes not your kind, you have to say hes cute. Hes not my category, either, but I can see hes good examining. The whole parcel was working for him: the “hairs-breadth”, the muscles What is your category?

The brightness change and the two laughter, a conspiratorial chuckle that follows often of their converse over the next 24 hours. TLC making a respectable comeback in 2017 is, its fair to say, sudden. Despite insisting that theyve been working solidly behind the scenes the whole time touring internationally, writing movie dialogues, setting up a fitness blog the group vanished from public consciousness sometime in the early 00 s.

Watch the video for Way Back.

Collectively though, the three twentysomething dames from Atlanta, Georgia Tionne T-Boz Watkins, Rozonda Chilli Thomas and Lisa Left Eye Lopes owned the 90 s: their brand of sultry R& B, silky enough to woo the masses but glitchy enough to keep them interesting, has constructed them the most successful US girl group of all time. Their two biggest books, CrazySexyCool( 1994) and Fanmail( 1999 ), sold more than 20 m mimics between them, with other singles and albums helping to rack up a total sales pull of around 65 m worldwide.

Thats a behemothic rank of success that was felled first by the bands bankruptcy in 1995, then by the tragic deaths among Lopes, at 30, in 2002.

I slept a lot, says Thomas of that time. When youre depressed and you sleep a lot I did that and stayed in my area. I didnt watch Tv and I certainly didnt listen to radio or used to go because everywhere wed disappear, someone would have something to say.

And theyd be smiling, more, microchips in Watkins, and then be like, Oh, Im so sorry, and then immediately, Can I have your autograph?

The two seemed hounded by the press, the public and their description. People are ghouls, says Watkins. I went words at my home 2 day after Lisa croaked, like, What are you going to do? and, Heres my demo, take a listen. But Lopes, who perished in road accidents on holiday in Honduras that April, was irreplaceable. TLC was ever a vehicle for a producer or a managers brand-new sound opening a revolving door for a new third member like, say, Destinys Child or the Sugababes was not an option.

They are much clearer than anybody else on what is and isnt TLC, their description boss, LA Reid, told Rolling Stone in 1995. They make it clearly articulated to the writers and creators on their projects what they will and will not sing. And because of that, theyll ever be a little onward. The radical turned away major songs, including Hit Me Baby One More Time( Its a great hymn but not every hit is for you. I couldnt hear us on that enter, says Thomas, diplomatically ).

We already did baby babe newborn, says Watkins, caressing her teeth.

Sister ordinance … ( left to right) Tionne T-Boz Watkins, Lisa Left-Eye Lopes and Rozonda Chilli Thomas in the Netherlands in 1992. Photo: Michel Linssen/ Redferns

TLCs distinct din stands written about and referenced by music blogs. And it still influences modern dad( accompany 2017 s biggest-selling single in the UK, Ed Sheerans Shape of You ). The radical characterized themselves by their three distinct identities: crazy, sex, refrigerate. Seven months after Lopes died, their fourth and least successful book, 3D, was secreted. We were upset, that was the label, says Watkins, of the book coming out. I guess their mourning stagecoach for us was a week, we werent recalling straight-from-the-shoulder or in a right frame of mind to be making decisions.

That first couple of years you think you were all right or at least better, and then you have a dreaming or something and youre messed up all over again, lends Thomas. It just really took is high time to heal.

Fifteen times on and in their late 40 s, the pair didnt think that they would be playing their first ever London gig. Mays lonely time at Koko in Camden Town sold out in a daytime, to an horde of followers singing and sweating on its sticky floorboards. We havent had bad concerts where weve been booed, but that was hard to believe, says Watkins, when we gratifies the next night in a salmon pink hotel suite. To come here and have beings singing TLC. It manufactures the adrenaline flow. Were always nervous before we go on stage, says Thomas, but I was exceptionally apprehensive this time. It didnt settle till I started doing it.

That the evidence was a triumph only follows TLCs made-for-TV-movie trajectory. Backing dancers in amber lame outfits, a truth choir, and thumped after reached opening with Diggin On Youand purposing with No Scrubs heightened it beyond the hurry of pop nostalgia. That said, new single Way Back, which boasts a Snoop Dogg verse where Lopes might have been, is pure 90 s street feeling throwback, but the pair affirm that theyre not attaches great importance to continuing trend, because, says Watkins, our music will always be relevant.

Hit girlfriends … TLC in Hollywood, 1999. Photo: Ron Davis/ Getty Images

What do you signify by throwback? questions Thomas.

Its inarguable that the two have worked hard to retain the essence of what reached them so massive in the first place: from the live creation down to Thomass still terrifyingly well-maintained washboard belly, they appear and sound as if theyve escaped a season capsule.

Some beings may say, Oh. you have the same haircut, says Watkins her angled blond bob gash as aggressively as she is. But first of all, second of all, and third of all: when you get the various kinds of iconic haircut that beings emulate, “youre calling” me. Its signature. Its true-blue: alongside The Rachel, Watkinss was the more popular haircut for gobby schoolgirls in the 90s. A slew of faux-bickering and tutting between the two follows as they debate the flaws of contemporary creators who, according to TLC, have no appreciation of performance, showmanship or style.

Celebrity changed, but what stays out to me is the altered in media, says Thomas. If Twitter was around when we were were out, Lisa would have “the worlds largest” adherents for sure. And maybe been in the most disturb, more? Oh my God, she would have been closed down multiple times.

Same with Instagram, says Watkins. If Instagram was taken away tomorrow there would be a lot of parties jobless right now cos theres a lot of public figure now made up of Instagram frameworks. She is unimpressed by influencers monetising their lifestyles online, but tries to hold back. Im not gonna knock your hubbub. Hustle on, girlfriend. “Its time” that hos are triumphing. An affirmative block-caps YEAH! comes from Thomas. But if you gonna be a ho, at the least sounds like a good ho and have to pay, Watkins continues. Ho-ism is working for people. Worst situation is to be a ho, spread your trash far and near and get nothing from it.

No scrubbing please, were TLC … Chilli ( left) and T-Boz. Image: Linda Nylind/ The Guide

Watkins wont be drawn on who she might be alluding to, but its still a surprise to hear her or Thomas claim a moral high ground over other women. TLC endorse female sexuality in their hymns and styling, and were early advocates of safe-sex campaigns( Lopes would even wear a condom on the left see of her glass ). Hitherto, says Watkins, she was offered $50,000 to stay a male fan and his wife at home So they could just stare at me amply clothed for five minutes , nothing else and she refused.

Chilli is scandalized. Fifty thousand! To bring kindnes and gaiety into that relationship, whats wrong with that ?! My husband at that time didnt crave me travelling, declares Watkins. He didnt have to know! squeal Thomas.

Both are single right now. Thomas has a son with TLCs ex-producer Dallas Austin, and Watkins is divorced with a son and teenage daughter. I wouldnt want to meet anyone right now, says Watkins. I do not want a mortal. If God slaps me in the are dealing with a good one, fine, but right now, I dont want to listen to your daytime, I dont want to care about your problems. I wouldnt be a good girlfriend right now; I dont want to have sex with nobody.

Oh, you poverty-stricken girlfriend! You good good girlfriend, says Thomas, cooing at Watkinss vagina.

Shell be all right, says Watkins, side-eyeing Thomas with a cat-like grin.

The pair live in different metropolitans now; Watkins is in Los Angeles, having precisely moved out of the neighbourhood the Kardashians live in, and Thomas has stayed in Atlanta, but they still finish each others sentences and slip into shorthand. You start off with so many friends, shows Watkins, but as you get older, you only need one or two. Im not open to just letting people into my life, I involve an asset not a liability.

Class behave … TLC announce a $25,000 Aids education scholarship in recall of Lisa Lopes at the 2002 MTV Awards. Picture: Kevin Kane/ WireImage

To their ascribe, the two ought to have categorically burned by the industry. To go bankrupt at the top of their honour and success still stings. I will never forget the day we were millionaires for literally five minutes, says Watkins. Because the cheque was written to us and we had to sign it over, back to[ Pebbles, their former administrator ]. But we wont get into that since were still in a lawsuit.

If I could go back, I are certainly change a couple of things business-wise, says Thomas. I have learned the hard way: signal your own cheques, make sure your taxes are in shape and whatever your firm is, its always good to get wise examined. If you dont have anything to hide, its not a worry.

Its not personal, contributes Watkins, hard as nails, its business. Everyone in this industry has only one plan. Auditors, lawyers, beings you think you know will keep running up the greenback. You have to watch your back on every corner.

Worse than the money was, of course, the loss of Lopes , that are actually dissolved that first, fantastical operate. The three had weathered everything together the backstabbing, the bankruptcy, the tabloid awarenes of Lopes igniting down the mansion of her then-football star boyfriend. Lisa was a starter. I dont start substance, I dont believes in disagreeing with people I dont know, says Watkins. I have a hard exterior, Im scary.

She was more intrepid, says Thomas. Im a friendly party but if I find out youre not cool, I get real cold.And, chortles Watkins, with Lisa, it depended on the working day. She was a Gemini, so she was about seven different beings. Neither Watkins or Thomas booze( Weve done this industry sober; were real clear about exactly what we doing ), though Lopes did and the three, tight because they are, were known to scrap often publicly. Gazing back, would they have done anything differently? Coulda, woulda, shoulda, says Watkins, her expression at its most slow and sleepy-eyed. It became us who we are, so at the end of the day, I just recollect Lisa as person or persons, a human being. I miss everything.

TLC by TLC is out on 30 June

The post TLC:’ I will never forget the day we were millionaires for five minutes’ appeared first on apsbicepstraining.com.

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