#you’re not an artist you’re an entertainer that happens to be good at songwriting and your entire existence is manufactured

[1-800-dreamgirl]

this is what everyone has been saying!! no one is looking at celebrities for political statements, but they should and must use their platform to amplify the voices of those who need and most importantly be against this genocide!!

[jammingjaem]

dream store

9. alexa, play hold me tight by bts

PAIRING | lee haechan x fem!reader

SYNOPSIS | rising up in the music industry as a young songwriter and producer, you wouldn’t think that you’d get hired by sm entertainment and write a song for your favorite group. although there was one downfall: you don’t think making music makes you happy anymore. but the endearing and charismatic lee haechan has swept you off of your feet. and here you’re asking yourself— what are you waiting for in life?

in the last three weeks, y/n became a real part of nct dream’s group. at first, they were just working together, but now you could tell that they were more than that. laughs during meetings and shared jokes created a bond beyond just being an artist working with a producer. nct dream welcomed y/n warmly, and they all felt like good friends, they understood the friendship that aespa has with her.

while y/n got to know each member’s unique qualities, the friendships definitely went beyond just professional connections. they became genuine friends who supported each other in and out of work.

but lately, something changed in how y/n interacted with the group. without intending to, she found herself spending more time with haechan. it wasn’t a conscious choice to favor him; it just happened naturally. haechan promised y/n that he was going to help her with the song, and he’s been hanging out with her more than the other members. for the past two weeks, y/n and haechan had common interests, shared humor, and an unspoken understanding that made haechan someone she could rely on during downtime. the two found themselves hanging out late at night, either talking in y/n’s favorite coffee shop, tiffin, or around the han river where haechan showed the girl his favorite street food stalls.

haechan with his infectious energy and laid-back nature, became someone that y/n became close to. whether they were talking about work, tv shows, or just some things that happened within the days they hung out, their conversations flowed easily. it wasn’t that y/n meant to exclude the other members; but the connection with haechan just felt like an unexpected but appreciated discovery. when y/n wasn’t with the girls of aespa, she was with haechan.

as they sat by the han river under the night sky, the city lights painting a beautiful backdrop, y/n couldn’t help but think about the past weeks. the friendship that was being formed with nct dream was something she holds onto dearly, but the connection with haechan had a unique quality. the late-night talks and shared moments unintentionally made her closer to him, making him someone y/n turned to more often than the other boys.

under the moon’s gentle glow, y/n contemplated some thoughts. the glittering lights on the han river added to the peaceful atmosphere as they sat on a bench, the clock ticking past 1:40 am. y/n finally gathered the courage to share a struggle.

“hey, can i tell you something?” y/n pipes up, making haechan hum, and she looks over to him, clearing her throat, “i’ll be completely honest with you… but… i’ve been struggling lately,” she began, making him look over to her. “i mean, i work as a musician, right?” he nods his head at her, “i’m always surrounded by people who love listening to and making music… but? i? i’m not so happy making music anymore.”

concern filled haechan’s eyes as he asked, “what do you mean? music has always been something you enjoyed.”

y/n sighed, her gaze fixed on the river. “it used to be. but lately, it feels like i’m trapped in a cycle of expectations. i’ve lost the joy, and that’s why i’m facing this writer’s block. i haven’t released anything in ages— hell, i didn’t even mean to say yes to writing nct dream a song.” she snorts.

haechan took a moment to absorb her words. “wow. y/n, had no idea you were going through this. thanks for trusting me with it.”

y/n nodded, grateful for haechan’s understanding. “i just want to love creating music again, but it’s become a source of stress instead, i’m stalling my work! what am i doing with myself? this isn’t me?”

haechan leaned back, his eyes reflecting the moonlight. “you know— you’re not alone in feeling that way. sometimes, we get so caught up in expectations that we forget why we started.”

y/n looked at him, shocked. “how do you deal with it, haechan? have you ever felt like your passion was slipping away?”

haechan hesitated before answering. “yeah, i have. there are moments when i question if i’m on the right path. but then, i remember why i started. it’s about expressing myself, connecting with people through music.”

nodding, y/n absorbed his words. “it’s like i’ve lost that connection. i want to find it again, as corny as it may sound.”

haechan smiled warmly. “don’t be so hard on yourself. it’s not corny! you will find it again, i promise you.” he tilts his head, “i think that yoj just need to take a step back, rediscover why you wanted to have this career. it might take time, but you’re most likely going to get there."

as the conversation unfolded, their connection deepened further. haechan cleared his throat, deciding to also show his vulnerability, sharing, “you know, y/n, i have my fears too. there’s always this fear of not being enough, not meeting expectations.”

listening intently, y/n reassured him, “you, not enough?” she scoffed, making him smile in amusement, “you are incredibly talented and genuine. you bring so much to nct dream and your solo work.”

haechan chuckled nervously. “hey! it’s not that simple. i have dreams and fears just like anyone else. there’s this constant pressure to excel, to keep up with expectations, and sometimes it’s overwhelming… look at me. tired and overworked.”

y/n placed a reassuring hand on his shoulder. “hey, you’re allowed to have fears. it doesn’t diminish your talent or who you are. in fact, it makes you more relatable.”

he smiled, “i worry about losing touch with who i am during all of this. it’s a challenge to stay true to myself when i’m going back and forth with my units.”

y/n nodded, understanding the struggle. “ i guess it’s something we all face. but you’re lucky. you’ve got people who care about you, who see you beyond the performer. you’re more than your achievements and expectations.” the two stayed silent for about two minutes, enjoying the silence.

haechan pipes up immediately, “you know, it’s refreshing to have these conversations.“ he tells her, reaching over to hold her hand comfortingly, “i’m glad i’m not alone,” he nudges her arm, looking at her, “as corny as that may sound.”

y/n laughs at him, “thanks for listening to me, haechan.”

haechan grinned, “thank you for trusting me.” he let go of her hand, “and thank you for listening too.”

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[justinsentertainmentcorner]

David Browne at Rolling Stone:

OVER THE LAST few years, the Gulf Coast Jam, a multi-day concert blowout held every spring in Panama City Beach, Florida, has become one of country music’s leading festivals, pulling in headliners like Miranda Lambert, Luke Bryan, Florida Georgia Line, Kane Brown, and Kenny Chesney. But recently, festival producer Rendy Lovelady has noticed something unusual backstage. “Ten or 15 years ago, everybody would sit in a circle around the table, pull out their guitars and start singing old country songs,” he says. “There was a lot of camaraderie. Whereas now, the camaraderie has definitely lessened. They tend to stay in their own community.” Part of Lovelady wonders if it’s the lingering after-effects of Covid-19, which forced touring performers to interact as little as possible with anyone outside their circle. But it’s also possible that the drop-off in backstage hangtime is a sign of something else: the national culture wars seeping into the traditionally close-knit country community, a space where artists often take pains to refer to their peers as “my good buddy” or compliment one another.

From less personal interaction backstage to public online feuds, country music is slowly being pulled into the same battles that have infiltrated nearly every aspect of American life and entertainment. “It really is weird right now,” says one leading country manager, who spoke on the condition of anonymity given the sensitivity of the moment. “Country music has aways been this kind of neighborhood where everyone gets along. We had everyone’s back. But it doesn’t feel that way anymore. The heels are dug in more than ever. It’s pretty heavy.” The manager has also witnessed the same backstage chilliness that Lovelady recounts. However, he says it is unquestioningly due to opposing political ideologies and beliefs. “I’ve always enjoyed seeing people in the hallways backstage,” he says. “But it’s not like that. You tend to avoid people, because everyone talks politics backstage. Everyone used to leave their dressing room doors open. The doors are shut now.”

The major signs that Nashville is visibly fracturing have all happened fairly recently. In August of last year, country and alt-pop singer Cassadee Pope, and then Maren Morris, took Jason Aldean’s wife Brittany to task for making seemingly transphobic comments. (“I’d really like to thank my parents for not changing my gender when I went through my tomboy phase,” Brittany Aldean posted.) This summer, her husband’s song “Try That in a Small Town,” and especially its controversial music video, led to Americana songwriter Jason Isbell tweeting, “Dare Aldean to write his next single himself. That’s what we try in my small town.” On X (the social media site formerly known as Twitter), Jake Owen, a mainstream country singer, seemed to side with Aldean. He clapped back at Isbell by writing in part, “Jason, you’re always the first to get behind your keyboard and spout off with this stupid shit.” (He since posted that he “came in hot on the conversation because I’m passionate about” songwriters.) The public tiffs also included Zach Bryan, whose duet with Kacey Musgraves “I Remember Everything” is on track to be the Number One song in the nation, taking a shot in April at country acts “insulting transgender people.” The comment was prompted by veteran Travis Tritt’s tweet that he would be “deleting all Anheuser-Busch products from my tour hospitality rider” following a Bud Light promotion that featured transgender influencer Dylan Mulvaney. Bryan, who said that he wasn’t aiming directly at Tritt, later talked it out in person with the Nineties star at a music festival in Texas, with Bryan calling Tritt “a good guy” and Tritt saying, “So glad we had a chance to chat, Zach.”

Although these feuds haven’t dominated the genre, they also haven’t gone unnoticed. “Like all industries, we’re not immune from the external pressures and the world at large,” says R.J. Romeo, president of the Romeo Entertainment Group, a leading talent agency that books country acts. “So naturally, there’s more divisiveness in the country now than ever before. That’s going to show up in opinions on music and everything.” The history of country music hasn’t been without its share of fights and rumbles; ask anyone who’s worked on an awards show or at a festival and you’ll hear tales of artists grumbling about their peers’ egos, sales figures, or place on the bill. In 2013, Zac Brown made waves when he called Luke Bryan’s song “That’s My Kind of Night” the “worst song I’ve ever heard.” They later hammed it up and hugged it out on live TV at the CMA Awards.

Public quarrels over politics, meanwhile, have been as rare as synthesizer solos in the genre. The then-Dixie Chicks’ feud with Toby Keith, which started when Chicks singer Natalie Maines criticized one of Keith’s songs in a 2002 interview and caught fire after Maines dissed George W. Bush onstage in the U.K. over the 2003 Iraq invasion, was one of the few times in recent memory when open warfare broke out among country artists over political matters. Such quarrels may become more common. “With everything heating up with the presidential race, people are beginning to have very distinct opinions,” Lovelady says. And the shift, involving country stars of different generations and accelerated by social media, has been jarring for longtime observers. Country acts, Romeo says, “all go through media training, and they’re usually very diplomatic or middle of the road with a lot of their responses. But I’ve seen more artists come out of what we call ‘the artist bubble’ and show more of their true self, you could say — or their less polished self.”

Rolling Stone explores how the culture wars are roiling the once-tightknit community of country music fans.

[taoistpenguin]

How to get people to listen to your music

i’ve been a songwriter, solo artist, sideman, and mercenary picker for 30+ years. i see a lot of social posts from people, who i assume are mostly younger folks, that basically lament how nobody’s listening to their music. i wanna help you out so i’ll share what i’ve learned after being in the game for the long haul.

first thing you need to accept is that nobody gives a fuck about your music. they have zero knowledge and zero interest about you.

if you want people to care about your music you have to make them care. and not in the bullshit “create engagement” way everyone sells. you need to go out and play your music in front of people in a way that demonstrates 110% commitment to your art. and you need to ask yourself a couple hard questions:

1. why are you an artist? is it a driving force in your life that you can’t live without, or just a lifestyle dream you aspire to?

2. do you have anything relevant to say to a mass audience?

i get it, sometimes you feel blocked or worthless. but those are the times when you need to hit it even harder. you need to stay in a musical mindset 24/7. if your primary approach to making music stalls, find different ways in.

lose the ego. if you’re a writer, sing someone else’s songs. if you’re a solo artist, go be a sideman in someone else’s band. maybe try to listen deeply to a style you hate. the main thing is to keep finding paths to creativity, no matter the circumstances.

if you don’t have the skills to make music that’s outside your current zone, develop them. stretch yourself. if you really care enough to grow artistically, do the work. that alone will break any creative blocks you may be having.

and don’t give me sob stories about how there’s no place to play. back in the day we made places to play, and three decades on, we still create our own opportunities. i gig regularly in 3 different bands plus solo shows. you want it that bad? make it happen.

here’s the main thing i’ve learned after 30 years: regular folks hear music differently than musicians do. if you’re posting your woes to other musicians on social media, you’re coming at it from the wrong perspective.

your job is to connect with non-musicians. non-musicians don’t give a shit about your creative process. they don’t care what EQ you used to record it. they just want to be entertained, so fucking entertain them. it’s not about passing a credibility test among other musicians.

if your music isn’t connecting with people, go find out what they want to connect with, and try to give them what they want. and no, that doesn’t mean “sell out”. it means frame and present your own unique art in a way that people with zero knowlege and zero interest can understand and relate to it.

of course, this approach presumes that you want to have a successful career creating music. if you just wanna make noises in your bedroom, that’s cool too. no judgement on any level of creativity.

but, if you’re posting in public that nobody’s listening to your music, yet you’re also not doing anything to make them listen and care, then maybe you need to decide if you’re really serious about being an artist.

yes, it sucks to not be heard or validated. but there’s no justice in the world. without even trying, i could name you three dozen artists who make beautiful - and accessible - records that blow the doors off anything in the current top 40, but nobody mainstream knows them.

but you know what? they ain’t quitting, because it’s what they do and it’s *who they are*. and that’s the biggest point. it’s fine to wanna get paid for your art, but first you have to really be an artist. and these days the bar is high. you gotta be really good.

look, creative life is tough. get a helmet, and maybe adjust your expectations. but if you really want to make a career of making music, start by finding answers to the two questions i posed up top. and then go kick ass.

[drewoclock]

I Considered Giving Up On My Dreams

Originally published September 26th, 2018

This doesn’t happen with everyone, but some people are lucky enough to know exactly what they want to do with their lives from the very beginning.  I was one of those lucky people--maybe too lucky, because there was a lot I wanted to do.  It’s always fallen under the umbrella of “creating your own entertainment” but I’ve wanted to be a painter, an actor, a songwriter, a filmmaker, a writer...  I’ve wanted the opportunity to live my life making all of these wonderful things.  Growing up, I devoted so much of my free time to pumping out artwork like this, always daydreaming of a time where I would be so good at it that people couldn’t look away.  Growing up to be an artist, an entertainer, a creator, was never something I ever questioned.  That is, until last night.

While having dreams is one thing, making them happen is another.  Over the years I’ve definitely thought about this; how hard it’s going to be, what my odds are, how much luck I’ll have to have.  I think most careers have their growing pains but with the one I was pursuing, you really start a lot lower.  The path to working your way up is long, difficult, and not necessarily happy.  Other people might not mind their first job in their field but for me, it’s more or less grunt work.  And I famously joked about this for a while, saying how most people had a nice incline where they went from high school to college to getting a job in their field to getting an even better job in their field, etc.  Whereas for me, after college, my incline dropped right to the bottom again, and I knew my journey up would be much steeper.  I was very aware of this, and it didn’t really phase me.  Because I kept daydreaming about my dream career, and what I had to do to get it just seemed worth it to me.

Recently, I took a very big step toward making my dream career happen.  I went through the very frustrating process of looking for an apartment in New York City and I moved.  I had tried finding the work I needed where I was at previously but, that wasn’t going to work and I knew it.  I had to move to somewhere with more opportunity, and I did.  And I liked the idea of living in New York City.  In a very shallow kind of way, New York City seemed like a place you lived if you were particularly important.  I wanted to feel particularly important.  I thought I was ready.  I--definitely wasn’t.

For one, I’m a lot more isolated here.  I knew that I couldn’t live with my family forever in their house with many rooms and that I’d have to transfer to a scrappy apartment.  But being mostly confined to one room is vaguely maddening.  It has just about everything I need but it’s starting to make me feel like I’m caged.  It also makes filmmaking in particular feel like more of a challenge.  I hadn’t realized exactly how much I depended on using my parents’ house as something of a studio, being able to film things in many different rooms.  Now if I want to do that, I have to make a three hour drive.  There aren’t many spaces to film here.

And even if I tried filming here, privacy is a huge issue.  These walls are thin, and I couldn’t even fart without everyone in the apartment hearing it.  Every conversation that’s had in the apartment is essentially a conversation you’re sharing with everyone else in the apartment.  I--really, really don’t like that.  I hate the idea that I couldn’t even have a bad day and cry without people hearing it.  And maybe it’d be a little more tolerable if I were living with friends, but that dramatically didn’t pan out and I’m here living with three strangers that I more or less don’t really interact with.  It’s very uncomfortable.

And it’s also very lonely.  Another thing I knew is that you can’t make a big move like this without leaving your family and friends behind.  I had a taste of this in college.  But in college, it never felt permanent exactly.  Now, it does.  I miss being able to just text my friends if I was bored and spontaneously hang out.  I miss just being able to know I could see them with a ten minute drive.  And I had not considered how comforting it was knowing that my family was around in the place I was living, and how nice it was just being able to talk to them.  It’s not something I thought of as a kid; how warm and loved you feel being a part of a family.  And while I’ll always be in the family--I’m not with it anymore.  I’m alone.

And there are things about New York City itself that aren’t too nice.  Yes, there’s more to do here and things are bigger.  But I like having a car, and dealing with alternate side parking down here is nightmarish.  And I barely get to use the car.  Public transit is usually the best option for getting places since parking is so horrendous.  I miss just the concept of driving a car and being in my own little space.  Public transit means you don’t have to worry about driving, but driving was never something I worried about.  Also, the gym’s more crowded and I don’t like it.

And on top of all of that, I don’t even have a job yet--which is awful!  I’m basically broke.  I was trying to apply for jobs even remotely related to my field  but I guess I underestimated the competition.  I thought waving around a degree would be the one thing about college that was genuinely useful but apparently it really isn’t.  Now I’m going to need to find some temp job in order to make ends meet.  And yes, some temp job is going to be a lot better than being unemployed.  But some temp job is not what I moved to the city for.

And that is actually the biggest problem of all: What I moved down to the city for.  I moved down here to start at the very bottom.  Do grunt work in my field and claw my way up.  I knew that’s what I had to do.  I had joked about it.  I had my eye on the future.  But now, my eyes are also on the present.  And the idea of doing this work--makes me really, really unhappy.  Yes, after many years it’ll maybe finally pay off.  But short-term happiness is valuable too, and something that up until now has been fairly secure for me.  Now, I’m looking at the path to following my dreams and for the first time, I’m seeing how miserable it’s going to be.

And for the first time, I’m starting to feel how unfair it is that other people don’t have to be as miserable because they have different dreams.  One of my friends is already married and more or less has his dream job while living in a nice apartment, with a move into a nice house pending.  I can’t even fathom the kind of happiness he must be feeling.  Another one of my friends just got engaged and is working a job he’s very comfortable with, while another one just got a job in a field he really likes.  One of my friends just bought a house because they make a ton of money in their field.  I have a cousin who’s younger than me and already doing so much better than I am living in the city.  And it’s not fair.  It’s not fair that I don’t get to be that happy.

So I considered giving up on my dreams.  Finding some other career path I could take that wouldn’t be as brutal.  Moving away from New York City to a place where I can get an apartment with some privacy.  Being able to drive again.  I still wouldn’t be living with my family.  I might still live away from my friends.  But I’d be more comfortable.  I’d be happier.  And I’d still work on my art projects on the side.  I’d make them public.  Maybe if I’m lucky, I could start my career that way.  Just by being noticed and not by having to work my way all the way up.  A lot of people don’t follow their biggest, loftiest dreams, but they’re still very happy with what they have.

But I’ve had the dreams I’ve had for my whole life.  These dreams are a part of me.  And even if I stop pursuing them, I’ll never stop daydreaming about them.  I’ll never stop wanting them to come true.  And it’ll make me sad, knowing that I traded them away.  The trade would be more than reasonable.  I’d get a lot more comfort by giving up on my dreams.  But--they’re my dreams.  They aren’t going away.

And for the first time, I started to feel cursed for having the dreams that I had.  If I had wanted to be a restaurant owner or a barber or a data analyst or something, I wouldn’t be in this situation.  I’d be happier.  I wouldn’t have to decide between giving up on my dreams, or pursuing my dreams and being miserable while doing it.  Because I want to be an artist, an entertainer, a creator, I’m doomed to this unsatisfying existence for however long it winds up taking for things to pay off.  And they may never pay off.

So in a way, everything stayed the same after thinking all of these things last night.  I still live in New York City.  I still need to get a temp job as soon as possible.  And I’m still going to pursue my dreams.  I feel like I have to.  It’s not often that my heart tells me things, but my heart is telling me that this is what I need to do.  But what has changed is my awareness of exactly what I’m in for.  I had been able to ignore it before because it wasn’t staring me in the face.  But now--this is going to be my life.  I’m going to be doing grunt work while most of the people I know are standing above me, feeling a lot happier.  It’s maybe one of the most unfair things that’s happened to me.  I hate it, and daydreaming about the future can’t make me stop hating it.

I’m trying to find a way to end this on a positive note.  It’s stumping me because I’m very, very sad right now.  It’s overwhelming how bad everything is, and there are constant reminders of it every day.  I’ve been sitting here for a long time trying to figure out a way I can end this that’s happier.  I had a thought of a life that might work out a little better for me.  Where I moved back to where I came from.  I know a lot of people from that area that have found the kind of grunt work I’m looking for down here.  If I looked even harder, I bet I could find it for myself.  I could work my way up and develop the skills I need to look appealing to the big jobs I really want.  I could keep putting my art projects out there and try to get them noticed.  And maybe I could get offers for big gigs in places like NYC or LA.  But gigs would come and go, and I could always come back in between them.  To a place where I have my own private apartment.  Where I can drive a car.  Where I get to visit my family that I love to pieces often.  Where I get to be close to my best friends.  Maybe there’s a way, to have both kinds of happiness.

It’s hard to know how things will play out.  But maybe it’s not that thought of a happier life back where I was that’s the positive note to end on.  Maybe the real positive note to end on is knowing just how much I care about my own happiness.  That I care so much about giving myself the happiest future possible that I’m willing to sit here until I figure out how to end this on a happy note.

Life isn’t too happy right now.  Not at all.  But at least I know that I’ll always be striving to make it happy.

[cyarskaren52]

Considering the tragic events of losing Kobe Bryant, Gigi and seven others in that tragic plane crash its easy to forget that this happened on the same day as the 62nd annual Grammy Awards.

it’s not uncommon for awards shows to learn how to handle such tragedy that will overshadow the award ceremony coverage. What is however how they handle it that matters most.

in my opinion, this award show handled it perfectly. Yes it was entertaining but at the same time seeing all the tributes made it emotional at the same time and it was blended perfectly with one not overshadowing the other

Alicia Keys Seems to Reference Grammys Turmoil in Speech

“We want to be respected and safe,” the host said during the ceremony, in a possible nod to the Recording Academy’s internal chaos and Deborah Dugan’s removal.

The insider turmoil looming over the Grammy Awards was summed up pretty succinctly early in the ceremony on Sunday night.

“Let me be honest with y’all,” Alicia Keys, the ceremony’s host, said in a pre-song spiel from behind the piano. “It’s been a hell of a week. Damn.”

The longer version: A battle within the Recording Academy, the organization behind the awards show, came to a head 10 days before the ceremony when the academy’s new chief executive, Deborah Dugan, was removed from her position.

Dugan, in a complaint to the Equal Employment Opportunity Commission, said the organization retaliated against her for exposing sexual harassment, corruption in the awards’ nominations process and conflicts of interest. The academy in turn said Dugan fostered a toxic work environment.

Dugan’s tenure, as brief as it was — she joined in August — signaled what could have been a step forward for an institution criticized for a gender imbalance and lack of diversity.

For a community of artists anxious for progress, her abrupt exit struck a sour note — a sentiment Keys seemed to echo in her speech.

“It’s a new decade,” she said. “It’s time for newness. And we refuse the negative energy. We refuse the old systems. You feel me on that?”

“We want to be respected and safe in our diversity,” Keys continued. “We want to be shifting to realness and inclusivity. So tonight, we want to celebrate the people, the artists that put themselves on the line and share their truth with us.”

Keys’s performance was a play on the song of the year nominee “Someone You Loved,” by the 23-year-old Scottish singer Lewis Capaldi. The theme of her speech continued with her lyric: “It’s when people do nothing that the bad guys win.”

Dua Lipa, presenting the award for best new artist with Keys, also took a moment to acknowledge gender equality in the music industry. “There are so many stellar female producers, artists, songwriters, engineers,” she said. “And if you’re in the business, and you’re hiring, raise your sights to the amazing, talented women out there, because we all deserve a seat at every table.”

Below is Keys’s full speech.

O.K. We’re back. And here I am in my favorite place, at the piano, where I always go when I need a little energy. You know what I mean? When I need a little, when I need some good vibes, I come here. So let me give us some background music while I’m talking. Because let me be honest with y’all: It’s been a hell of a week. Damn. This is a really, it’s a serious one. Real talk, there’s a lot going on. And can I also have a little more piano in my ears please so I can properly serenade the people? You know, I need to serenade y’all for a minute. But you know what? I’m proud to be standing here, you know? I am. I am. And I’m proud to be here as an artist, for the artists, with the people. And I feel the energy of all the beautiful artists in this room. It’s going to be an amazing night, amazing night. Because it’s a new decade. It’s a new decade. It’s time for newness. And we refuse the negative energy. We refuse the old systems. You feel me on that? We want to be respected and safe in our diversity. We want to be shifting to realness and inclusivity. So tonight, we want to celebrate the people, the artists that put themselves on the line and share their truth with us. And I mean, we got the incredible Billie Eilish right here in this building. That’s great. That’s my little sister right there. We got Lizzo, who just owned the stage. Eight nominations and already a winner tonight. We have the magnificent Ariana right here in the building tonight. You see us? You see us? We’re unstoppable. We get to be who we want to be. We get to be different. We get to be unique. We get to be everything, right now. So I’m looking forward to being here together with all of us, again, celebrating this music. Because I know how much Kobe loved music. I know how much he loved music. So we’ve got to make this a celebration in his honor, you know? He would want us to keep the vibrations high. You know music is that one language we can all speak. It don’t matter where we’re from. We all understand it. So I want to show some love to some of the artists who spoke this language so beautifully with us this year. So I’ve got something for you.

Sent from my iPhone

[newmusicradionetwork]

Robert Eskridge “When Life Happens”

Country Music Singer/ Songwriter (1968 -) Early Life: Country singer / songwriter Robert Eskridge was born on November 10, 1968, in Wilmington, Delaware. As a kid he bounced back and forth between Delaware, and Eastern Kentucky, where he graduated from Morehead State University. Eskridge started playing in the local bars and honky-tonks at the age of 16, and throughout college in various bands in the Lexington, Ky area. Key early highlights in Nashville, he took the stage at the Grand Ole Opry, had a Saturday night performance at the world-famous Ernest Tubb Record Shop, as well as the old Stock Yard and Bull Pen Lounge where he played frequently with the George Jones Band. As music was just starting to take off, the start of a young family re-prioritized his music career, but he still played locally with his band Southern Daze in the tri-state area. Recent Times: With two full albums released, Eskridge and Southern Daze has had good success as an Independent Country Artist: Buck Wild and Whiskey Crazy was an Indie World Country #1 and New Music Weekly Top 10 Simple Things, the title track, was an Indie World Country #1, EACM #1 and New Music Weekly Top 5 You’re My Destiny hit #1 in Canada and EACM #1 and peaked at #16 New Music Weekly Main #9 New Music Weekly Digital. I Can’t Win for Losing You hit #1 on the New Music Weekly charts in Nashville and held on for two weeks! #5 in Europe Glasses UP was a Top 10 New Music Weekly, #1 in EACM (Europe) My Girl Kicks it Country – hit the Music Row Charts as well as #1 in EACM TAKES released to country radio on 3/20/2023 Key Nominations / Awards: – ACMA New Male Artist of the Year 2020 – New Music Weekly New Male Artist of the Year nominee 2021 – Josie Music Awards Nominee: Song, Entertainer and Male artist of the Year 2021 – 92.9 Nash FM Ky Proud Headliner – Josie Music Awards Nominee: Band / Group of the year, Entertainer and Male artist of the Year 2022 – CMA Fest artist – 2022 Southern Daze is known for their southern rock style, guitars and harmonies. With seasoned musicians that have the same passion and drive for music & entertaining, they enjoy putting on shows for their fans. The band consists of Robert Eskridge – Nicholasville, Ky Sam Pollock Georgetown, Ky Kevin Rawlings Lexington, Ky Kerry Elliott Paris, Ky People love the energy of the band and their wide range of music and the originals. Personal Life Outside of his professional and music career, Eskridge has several interests including cars, traveling, the great outdoors and skiing. He and his wife Juli have four children, Jessi Eskridge, Jerad Eskridge, Malina Gaworski and Iza Gaworski. The Eskridge’s are proud supporters of Morehead State University. Additional Artist/Song Information: Artist Name: Robert Eskridge Song Title: When Life Happens Publishing: Robert Eskridge Publishing Affiliation: ASCAP Album Title: When Life Happens Record Label: Bucket List Radio Promotion: James Williams Promotions James Williams 615-264-3456 williamspromotions3@comcast.net Read the full article

[sunjaesol]

the smile you gave me (it’s magic)

juke | meet-cute au | tw: alcohol + annoying men in bars | written for @alexjulies as we have the same headcanons about luke

What Julie Molina was about to do was horribly unfeminist and Flynn would hate her forever, but really, it was all the man’s fault - as usual.

She rejected his advances three times now in the last hour. The bartender gave her a drink on the man’s tab and she sent it back, the man brought it himself (introduced himself as Levi) and she politely declined once more. The third time he asked her to dance and then she fled to the bathroom. Julie wasn’t the biggest partygoer, occasionally joining Flynn for happy hour - like today. Her friend was late however, due to an emergency meeting at a magazine she worked at and Julie had to endure the bar alone. Grave mistake. She should’ve just waited at a McDonalds or something; even if she’d look out of place in her cocktail dress.

im there in 15!! hang in there <3 <3

Julie groaned. Great. Fifteen more minutes in a smelly bathroom stall as women outside were drunkenly crying in front of the mirrors and babbled about their own grievances regarding men. For such a universal problem, she had hoped all men would’ve taken the hint by now.

No, she didn’t want to dance. No, she didn’t want a drink. No, she wouldn’t give her number to someone that kept pushing and coming into her personal space. Levi could fuck off. It was bad enough how he had given her a suggestive once-over like he was deciding whether he wanted brunette or blonde tonight.  

The reminder angered her, pushed her out of the stall with a scowl. Was she really going to let a dumb man (nay: boy) ruin her night before it even started? Her songwriting session with Hayley Williams had gone really well and she deserved to celebrate that! She deserved to end her day on a high note! A quick look in the mirror to assure her make-up hadn’t smudged, she marched out the bathroom back into the dimly lit bar.

Her eyes scanned the room, relieved to not catch Levi close-by. Did he give up and leave? Was he cornering another girl? Whatever. As long as he wasn’t bothering her, she’d be able to breathe and maybe forget about the altercation.

If he did bother her again, she’d use her privilege as a girl and yell at the top of her lungs that he was harassing her. Surely then security would kick him out, right?

Over by the bartop was clamour, two men pulling each other into a laughing embrace as one hauled their backpack over their shoulder as the other dropped it. Changing shifts, Julie noted, halting on the man that had arrived. Well then. The theory that bars only hired attractive people seemed to be correct, the guy straight from a CW show. Mussed up brown hair, sharp features, big eyes, cute smile. A ten out of ten.  

He shrugged his red shacket off, fully black outfit beneath and began washing off discarded glasses. His muscular arms made her throat dry up; he wasn’t attractive, he was hot.

(Oh God. Was she just as bad as Levi, gawking over a stranger? But wasn’t part of his job that girls were supposed to gawk over him? More tips and all that? Julie decided she shouldn’t feel too guilty.)

Her feet moved on their own accord towards the bar, sliding into a leather high stool and wondering what she’d order as she waited for any of the bartenders (him?) to approach her.

Luck was on her side, the new bartender pressing his hands into the counter, brows raised expectantly. “What can I get you?”

Her lips tutted, debating between a margarita and a strawberry mojito. Both were appealing and at a marginally low price. “What’s better?”, she asked. “Margarita or mojito? Honestly.”

He grinned. “Honestly?”

“Yeah.” She crossed her arms atop the counter, a brush away from his hands. “I’ve bartended before. I know you have to lie a little.”

His muscle tee shifted around as he chuckled, slivers of tattoos peeking through on his chest. Her eyes averted, hoping she was a bit more subtle than she felt, and kept them trained on the stacks of whiskey in the glass rack.

His fingers drummed on the wood. “The mojito, then.” Leaning in as if imparting a secret, he added: “We’ve been buying the cheaper tequila. Gotta pay those bills.”

Satisfied at his reply, she gave him a pleased nod. “Okay. A mojito, please.”

He pushed himself off with a click of the tongue, as if he auctioned her something, and turned to grab the ingredients. As he poured the rum into a tall glass, he fell into casual conversation she was all too familiar with.

“You here alone?”

“Waiting on a friend.” Eager to distract herself from the reason why she waiting, and what caused her to wait in a fucking bathroom, she asked: “What’s the tattoo?”

The bartender paused for a beat, as if momentarily forgetting he was inked up, and then tugged his shirt out the way to showcase more skin. Had she not been so curious, she’d focus on the fact that he was defined as hell. The tattoo was a detailed sun with an ocean wave drawn inside. More uncovered: a play and pause button, ‘now or never’, a stick and poke tattoo of a lightning bolt. It was as if she herself doodled onto her skin and then left it there, but it somehow worked. It was personal. Maybe she was also a bit intrigued since he seemed especially interested by music. Granted, it was LA. Everyone was some type of artist with varying degrees of success. Still - she was curious.

“They’re cool,” she complimented, him going back to making her drink with an appreciative grin.

“Thanks.”

“Was the lightning bolt a drunk decision?”, she teased. The only instance someone got a stick and poke tattoo was when they felt chaotic or impulsive.

His grin widened, throwing crushed ice in the glass. “That obvious? Yeah, me and my boys all got one. This whole idea of-” He waved his hands around, trying to find the right words. “-bonding us together for life, I guess.”

Warmth thudded in her chest at his story, endeared by the way his voice became lighter when he talked about his friends. They must be like brothers to him.

As he placed the completed drink in front of her, she contemplated her answer. She’d rather keep talking to him than wait for Flynn in silence. “That’s nice. Having friends like that, it’s special.” Twisting her wrist, she showed her own tattoo. “I got this one when I turned eighteen.”      

They were two, small butterflies dancing on the inside of her forearm. When her mother passed away, she always knew she’d get something to commemorate her. Doodles of butterflies marked her skin in high school, finally becoming permanent when she was allowed to. Knowing everyone inevitably asked about the why, she continued talking.  

“It’s, you know, it’s about metamorphosis and beauty and transcendence and I just-” She caught herself before blabbing her sob story to a stranger. With a chuckle, she muttered: “It’s a reminder that change is good.”

When Julie looked up at him, she was struck by the wonder on his face. He didn’t look as confident as he did before, probably taken aback by her sudden spiritual spiel about butterflies - or by her, in general. The thought let a quiet thrill course through her.  

He snapped out of it, a smirk falling on his lips as his nail chimed against the glass. “It’s on me.”

“Is that a move?” Her head tilted, amused.

“You want me to lie or be honest?” The man leaned across the counter again, much closer this time. “Cool tattoo, by the way.”

She laughed, biting back a silly grin from blooming. This was his job, she reminded herself. Act all cute and get her to buy more drinks so that eventually, her tab would be enormous. It was like winning once at a game of poker and then becoming cocky.

Coy, she ripped her gaze from his and sipped on her drink. She’d let him simmer for a bit.

That was when it happened. Her unfeminist deed that would make Gloria Steinem shudder. Levi, the devil reincarnated, shot her a smug look from the other side of the bar. Swerving past people to the beat of the music, he tried approaching her again.

Julie groaned behind her glass, her good mood instantly shattered once more. Why couldn’t this idiot take a fucking hint?!

“Damn,” bartender mused, “I thought my mojito skills were good.”

The brash words tumbled out at a rapid pace, her need for a solution trumping her pride. “There’s a guy coming onto me right now and you need to help me ward him off. Please.”

He grimaced. “Yeesh. Ex-boyfriend?”

“Worse,” she bit. “A fool.”

A stressed smile pinned itself on her cheeks as Levi sidled beside her, one arm bracketing her left. Her back tensed as she shot a quick, pleading look at the bartender. He zeroed in on Levi, mouth curled downwards.    

“There you are,” Levi grinned. “Thought you left.”

Julie didn’t entertain him anymore. “I’ve told you. I’m not interested.”

He dismissed her. “I see you got yourself a drink? What is it?”

“I’m not interested,” she snapped, eyes flickering once more to the bartender. Was he really not going to help her?

It spurred him into action, his arm reaching over to create a barrier between Levi and her. “Dude, you heard her. Back off.”

Levi snarled. “Can you not? This is between me and her.”

“No, actually,” he exclaimed, blunt. “I’m her boyfriend.”

Her vigilance got her acting swiftly, shifting her expression into a believable nod and placing a hand on his outstretched arm.  

“He is?” Levi was gobsmacked, a hint of anger lacing his voice.

“Yeah,” Julie bit, silently thanking him when he played along and enveloped her hand with his. Her final strike spit his venom right back in his face. “So can you just leave us alone?”

The man rolled his eyes with a scoff, kicking one of the stools and mumbling a string of curses. “Bullshit…”

When he was out of sight again, having stormed off like a petulant child to a shadowy corner, Julie let out breath of relief. “Finally!” Shooting the bartender a bright smile, she kept babbling. “You have no idea how annoying that is. And smart idea - the boyfriend card always works!”

He squeezed her hand, worried. “You sure you’re okay? That was fucked up.”

“Yeah…” She trailed off, the soft touch reminding her of his words from before. Squeezing back, she watched as the pinch between his brows vanished. “I’m okay.”

They kept their stare for a beat, the revolving pop music and excited chatter merely background noise. Neither have let go of their hold on each other. She didn’t want to either; his hand was warm and gentle and a calloused thumb absentmindedly caressed her skin. Levi should learn from this.

Sometimes, a connection just happened.

He let go first, collecting himself into a casual stance that was far more amusing than it should be. Ducking beneath the bar and grabbing a beer, he tapped it against her glass with a cocky nod. “My name’s Luke.”

Julie matched his expression. Luke. Luke, the bartender. It fit him perfectly. “I’m Julie. Are you supposed to be drinking on the clock?”

“I work in a bar,” Luke deadpanned. “It’s expected. And I’m sure Jack can handle it.”

“Why would he have to serve alone?” she inquired teasingly, eyes glimmering with challenge. If there was one thing she loved, it was getting the upper hand in a fun game of flirting.  

He lifted his bottle with a wink. “I’m drinking with you.” A pause, his gaze matching her intensity. Damn. He was a good opponent. “Unless you want me to go?”

She shook her head, took a sip from the mojito and wiggled her brows. “Cheers to warding off annoying men, fake boyfriend.”

“I better get some good karma from this,” he joked. “Cheers!”

(Later that night, she’d realise Flynn never came by. When she asked what happened, Flynn told her she had walked in and saw Julie completely wrapped up in a conversation ‘with that cute bartender’ and left. The joyous announcement that Julie got his number made her friend screech over the phone.

Julie went back to the bar many times. Drinking and talking bled until deep in the night, once till closing time and then he walked her to her apartment. He didn’t resist when she kissed him, his lips kissing back with hunger.

It didn’t take long for the ‘fake’ to be scrapped from that label.)  

🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸🍸

@blush-and-books @willexx @bluefirewrites @ourstarscollided

[solarune]

between the lines

Anonymous said: can I req an imagine with johnny where your their songwriter and he catches feelings for you? 🥺  thank you!

pairing: johnny seo x fem!reader

genre: fluff

warnings: swearing, hyuck is annoying as always

word count: 1,947

a/n: i’m going to consider this my official “i’m back!” post since it’s been a while since i’ve written. for anyone who cares, yes i will still be uploading my summer fic that’s literally a month late lol don’t worry. life happens, what can i say. i think this is my first request that i’ve gotten so thank you to this anon for sending this in, i hope you like it :-) also dedicating this to @127-mile​ who i, for some reason, always associate w johnny even though i know that ten is your ult. surprise, i’m your 💚 anon!!

Has that painting always been there? I don’t think I remember it- Wait, why am I trying to think of something else, it’s not like he can read my mind. 

Your shoulders sag.

Wait. Can he?

You stare at Johnny as he talks to the producer beside you, looking for the slightest hint that he’s capable of reading minds.

If you can hear me, look at me right now.

When he doesn’t look up at you, you let out a breath that you didn’t even realize that you were holding. You definitely wouldn’t have been able to handle it if Johnny was capable of reading your mind. It’s already driving you crazy that this is the fifth time that you had to break eye contact with him while he was singing one of your more romantic lyrics. You’re not sure if it’s the exhaustion that you’re feeling from how late it is or your overthinking brain but you swear he does it every single time, and your heart feels like it’s about to beat right out of your chest when he looks at you.

“(Y/N)?” Jaehyun calls out, pulling you out of your internal existential crisis. “What do you think? You’re the songwriter after all. How did you want it to sound?”

Your mouth opens and closes as you struggle to find the right words while also avoiding Johnny’s gaze on you. You grab the lyric sheet from the table beside you—not that you actually need it, you just want to have something to do with your hands—and look down at it. “Can you guys sing it one more time?”

You force yourself to not look up, even when you feel the man’s stare on you once more, instead acting like you’re reading along with the lyrics while they’re singing. The way that they’re singing is wrong, the hours that you spent writing this song already telling you that, but you pretend to be contemplating just to give yourself a few moments to breathe before putting on your professional persona. You have no time to be acting like a teenager with a crush when you have a job to do. 

“Try singing a bit softer,” you suggest as you finally look up at the two idols. “Imagine you’re saying this to someone who’s sitting right in front of you.” Your eyes flicker to Johnny for a brief second before looking back down at the paper in your hands. “So you shouldn’t be belting the lyrics out because you’re not yelling this to them. Your voices should be… full of fondness rather than happiness, if that makes sense. I can’t really think of any examples that you might be able to relate to.”

“Like you’ve known them for years and they just did something really cute that you can’t help but smile at,” Johnny says, and you nod along quickly.

“Exactly like that,” you agree. “This song should bring out feelings of contentment, warmth, and stability. It’s about a timeless love so you shouldn’t sound like you're bouncing off the walls because you just told that person about your feelings and they reciprocate them.”

“Warmth,” Johnny repeats softly, and when you look over at him, he’s smiling at you in the exact way that he had just described moments before. Like everything you do is just completely endearing to him. 

You blink and the expression is gone, and before you can even begin to comprehend what just happened, the producer is already ushering the two into the recording booth. Your eyes follow Johnny’s every move, watching the way he puts the headphones on, the curve of his lips as he laughs at something Jaehyun says, and the way his fingers nervously tap at the music sheet stand.

“Okay is it just me or did Johnny just give you the look?” someone asks loudly in your ear, causing you to jump in your seat and the other producing staff to glare and shush the boy beside you. You turn around to see Mark with his knees bent so he could speak into your ear, a blush on his face for being scolded while Haechan snickers from his spot on the couch.

“A look?” you ask, not quite sure at what Mark is trying to get at. “What look?”

“No, not a look,” he shakes his head, a few strands of his unstyled hair moving out of place as he does so. “The look. The Look, you know?”

You stare at him in the hopes that you would magically understand what Mark is trying to tell you and he stares back, as if trying to connect with you telepathically. It doesn’t work. You shrug and wave your hands in the air, encouraging him to go on.

“You know,” Mark mumbles as he scratches at the back of his neck. You would think it was Mark that was caught staring from how shy he’s suddenly become. “He was staring at you and smiling at you… and stuff.”

“Oh my God, it’s even more confusing when you try to explain what you mean,” Haechan groans in exasperation. The youngest sits up straight and looks at you pointedly, and even though you’re older than him, you feel like you’re about to get scolded. “Johnny’s into you, (Y/N). Broke his promise of No Simp September because that man simps hard for you, he literally doesn’t shut up about it. So please either accept or reject him soon because I’m tired of hearing him talk about your ‘eyes that hold all of the universe’s stars in them’ - his words not mine.”

“Thank you for clarifying,” you respond drily before spinning around in your chair and scooting closer to the sound board. 

You cross your arms over your chest, and any outsider looking at you would think that you’re some hard-at-work songwriter observing the artists to make sure that they don’t mess up. In reality, you’re having yet another existential crisis because Johnny likes you? Johnny Seo, the man that you’ve had a crush on literally since you were first hired at SM Entertainment years ago to become one of NCT’s main songwriters, has a crush on you? You didn’t want to get your hopes up but Mark and Haechan’s words only seem to confirm your previous suspicions that Johnny was indeed staring at you before. 

You let your mind wander as you only half pay attention to what’s going on around you, not even noticing that everyone has decided to take a break until Haechan is shutting the door behind him and you’re the last person left in the studio. Or at least, you think you are until you turn around and see Johnny lying on the couch that the youngest was just previously occupying.

“What are you still doing here?” you ask him as you stand up to stretch out your limbs with a soft sigh. “I thought you would’ve been one of the first ones out so you could get some coffee with Jaehyun.”

“Well I wanted to talk to you about something,” Johnny says while rubbing at the back of his neck, and you have to stop your eyes from widening because this cannot be happening right now.

“A-About what?” you stammer, and it’s taking everything in you to not burst out the door and run all the way back home just to avoid the specific scene that’s been playing over and over in your head every single week before you fall asleep. “Are you worried about the song still? I think you guys did great this time around.”

“No, it’s not about that,” he says with a shake of his head. “I wanted to talk about the lyrics to your song. You told us to imagine saying this to someone sitting right in front of you when we’re singing this. Is there someone you were thinking of when you were writing the song?”

You really wish that the ground would swallow you up right now. 

What the fuck are you supposed to say to that? Oh yeah, I was thinking about you actually, haha funny right? You know because I’ve been in love with you basically since I’ve met you and all that. And if you read in between the lines of all of the love songs I’ve written, all you would see is your name because it’s so painfully obvious that they’re all about you.

“No one in particular,” you reply, your voice higher than normal and you rush to clear your throat. “I was just trying to help you guys out.” Johnny nods and you mimic his actions, the awkward atmosphere almost suffocating you as you look anywhere but at the man in front of you. “Is there someone that you were thinking about?” you blurt out before you can stop yourself. It’s now or never. If you don’t have the guts to confess—and assuming that Haechan and Mark are right—then maybe Johnny does.

“There is, actually,” he nods and you feel your heart rate increase at his words. “That’s what I wanted to talk to you about; I need some advice. There’s this girl- obviously- And she’s just, like, amazing. She has this loud laugh that’s so contagious and she gets so excited about such small things and I don’t know what she puts in her hair but it always smells really good. And I’m pretty sure I’ve liked her ever since I first met her but I didn’t figure that out until like last year. But ever since I did figure that out, I’ve been trying to drop hints whenever I’m with her but she just doesn’t seem to get it. I’ll visit her randomly on my days off and bring her coffee when she’s at work and send her videos that remind me of her. I look right at her when I say something romantic but nothing works. Even now, I’m literally telling the girl that I like that I like her without actually saying it out loud and she probably still doesn’t get it.”

It feels like your brain short circuits at that last sentence. Well, your brain felt like it was short-circuiting throughout the entire thing, so it’s more like it just stopped working at that last sentence. “Wait- what-”

Johnny stands up and moves close to you until he’s only an arm’s length away with his dark eyes looking straight into yours. “(Y/N). I like you. Like, I really like you. And I would like to take you out on a date- if you’ll let me.”

Instead of answering his indirect question, you opt to confess your own feelings. “There is someone that I think about when I write all of those love songs. It’s only ever one person. And it’s only ever been you, Johnny. I think about you every single time, ever since we first met.” Your cheeks feel so warm after your confession but your heart feels like it’s soaring when you see the wide smile that breaks out across Johnny’s face at your words. “I really like you too. And I would love to go on a date with you.”

“Fucking finally!” Haechan exclaims as he bursts into the studio while Mark tries to pull him back and Jaehyun just stands there laughing. The boy’s yelling causes you to jump and causes the smile from Johnny’s face to fall as he glares at his roommate. Haechan ignores that, walking right past Johnny and flopping down on the couch before he takes a sip from his iced coffee. “Now that that’s over with, can we hurry up and finish for today? I wanna go home and play Valorant.”

[artofdying1970]

i would like to hear the thoughts about ringo’s solo career 🧍‍♂️

thank you anon i was waiting for someone to ask for my very bad opinions, as always 🙏 long post ahead !!

to start off, i have to admit i haven't actually taken a proper deep dive into ringo's entire catalog, so take what i say with a grain of salt. i might come back to revisit this, but for now i'm willing to hear others who are more well-versed with his work! but just to clarify, that is not to say i haven't actually listened to any of his albums because then i wouldn't be making this post lol.

in his debut album ringo tries out this style of easy to digest yet palatable music. in 'sentimental journey' you can see him embracing mainstream pop after the beatles had abandoned the genre during the experimental half of their career, while still giving it his own touch that truly drives the point home that it is his and no one else's. so we're off to a great start. i think in the grand scheme of things this is a decent album. it may not compare to the debuts of other the beatles because well. it's a cover album. which isn't a bad thing (it is well-known songwriting isn't ringo's strongest suit), but you don't really see much of him in the album seeing as the words aren't his.

(skipping ahead a little) the sound i was talking about earlier is in my opinion most prevalent in 'ringo', which is his most well-received album and my favorite of his probably. by this point, ringo has established a formula that works and will carry on to his following records. this is fairly common in artists. they start off their career and try something that works. when it does, the artist will try to either evolve the sound and/or play around with the concept, in order to not completely alienate their audience while still trying new things out. said evolution comes with some sort of transitional period and experimentation along the way.

the thing is, you can't really pinpoint where is it that ringo tries to evolve. because that's the thing: he doesn't. other than, i don't know, some synths in the 80s his albums begin to sound extremely similar to the point where you can't really distinguish where each song comes from unless you're really invested. i'm not saying you're required to release these incomprehensible psychedelic songs or full on masterpieces with every record, but you have to do something to at least keep your audience entertained. ringo's sound is fairly innocent but there are way too many factors that aren't his or anyone's fault that make the music sound tired and just not appealing at all. i'm sure ringo fans must have a reason to like his records, i just don't see it. with an unfortunately limited vocal range and severely underwhelming lyrics, the least you could do is try to shake things up a little from time to time. yet again, that doesn't happen.

but that's the other thing, he doesn't have to change. after his work with the beatles and his first couple of albums, ringo demonstrated his capabilities as a musician and the mainstream media adored him for it. while the critics have always been a little harsh on him, they still regard him with the respect of one would treat one of the members of the most popular band in history. if we're being honest, ringo (and paul, to some extent) doesn't have to please the critics and he doesn't have to make new, inventive music. hell, he doesn't even need to make good music at all. while maybe not as disgustingly rich as paul he's still doing tremendously well and is still regarded by most. so, honestly, what's the point?

i hope i didn't come across as unnecessarily hateful here, because that really wasn't my intention. i don't have a personal vendetta against ringo or anything, i just don't see the appeal in his music. it's always struck me that he's better at being a celebrity than being musician if that makes any sense. a starr, if you will. anways.

as i said at the beginning of this post, feel free to disagree with me or add anything else, and please don't take anything i said here too seriously. i'm no expert on music, i'm just sharing what i think which is of course subjective and is subject to change. :)

[theyreoutofthewoods]

Haylor: fact, fiction, or folklore?

I’ve accepted 99% of what we see in the entertainment industry is PR so I just eat it up for entertainment but always stay skeptical about what’s going on in real life. If there’s one thing I’ve learned from a lot of my friends working in the entertainment industry and/or PR professionally, it’s that most of what we see from celebrities is highly filtered PR.

At this point I just take celebrity stories like narratives or myths they tell. It’s part fact, part fiction making it more like folklore. I can enjoy it and know it’s sort of fake since they’re storytellers and most famous people play up a public persona that isn’t necessarily their real personality (like anyone does at work or on social media). Good examples of this would be Harry’s public persona during 1D as a womanizer (which we know isn’t really true). Another example would be when Taylor had her fake country accent during debut (which we know she grew up in Pennsylvania).

I was thinking about PR and relationships, and the most recent example with Olivia Rodrigo drivers license. With Olivia, it was too scripted to be totally believable in my opinion, like with the back and forth between Olivia Rodrigo, Joshua Basset, and Sabrina Carpenter. There’s probably big kernels of truth in their story but they’re exaggerated and played up to boost all of their careers and personas. Olivia: the “good” girl who is a brilliant songwriter (I’m sure she truly is) who got her heart broken a la Taylor Swift or Lorde. Joshua: the heartbreaker/bad boy. Sabrina: the “bad” girl who sort of “stole” Joshua away from Olivia. They all dropped songs from their side of the story. But songs aren’t quick to make or release, they take tons of planning. So ultimately they’re all playing up characters in the drama so that we associate these traits with them, it’s what good PR and public personas are built on. The problem was it looked a bit too staged. Those events might really have happened! But it was all too convenient that they stirred up the drama THAT quickly, post after post.

I’ve really been thinking about it with Haylor lately too. There are countless theories that I won’t get into about the motivations for Harry and Taylor dating for PR, but the main theme underlying all of these theories is that them dating would further both of their careers. Fans of one would become fans of the other. People would pay attention to two of music’s biggest young stars dating.

Taylor needed a bad boy muse to write about to bring her into pop super stardom (because she was in transition from country music) and to promote her new pop album, which would go on to become one of the most famous pop albums of all time. Harry had an image to further that he was a womanizer who dated slightly older women. As a couple, it was a symbiotic relationship. And we see that in Taylor’s music TO THIS DAY that she’s still writing references to their story (see: coney island, happiness, and the cardigan music video). Maybe it’s because they had an epic and toxic love story? a tale as old as time. Or maybe it’s because she’s a superb storyteller? Maybe it’s both!

Harry said it best in the very transparent song Perfect when he sang “if you’re looking for someone to write your breakup songs about, baby I’m perfect.” Between his songs for One Direction and his first solo album, and hers on 1989 and beyond (and others they both wrote for other artists) playing up both of them as these characters, it’s a masterfully crafted story. Thrilling, emotional, and incredibly well designed.

I mean it’s 2021, 8 years after their alleged first big breakup in 2013 and we’re still talking about it and they’re still creating a narrative between themselves. Harry dropped Fine Line on Taylor’s 30th birthday. Taylor dropped folklore on the 10th anniversary of One Direction. They both had iconic Vogue and Rolling Stone covers drop on the same day. They both had surprises on the same night (his for iHeartRadio Jingle Ball 2020 and hers for the announcement of her surprise album, Evermore). They’re now two of the most popular artists on the planet, and are both nominated and performing at the 2021 Grammys. They’re still tied to each other through their PR and I don’t think that’s a coincidence at all. I don’t think they’re secretly in a relationship, probably not even friends. She’s happily in a long term relationship and he seems fulfilled doing his own thing. To our knowledge they don’t even talk anymore, but maybe their PR teams do?

Obviously I love Harry and Taylor individually and loved them as a couple. Whether or not it was a PR stunt completely or a real relationship, or something in between, or both at different points (which is what I actually believe), they both made an incredible narrative that we’re still enjoying to this day and indirectly boosting the others’ success, so I think it’s been an effective strategy from a PR standpoint. I mean coney island and happiness had lines directly referencing Out of the Woods, so she’s still writing that story.

Even if it’s mostly fiction, it’s incredible storytelling no matter if it happened for real or not. They’re entertainers and artists, and I think they’ve done a great job at that. So if it was all PR, I don’t feel like my love for them is threatened at all. If it was real, all the more to love. If it was just a tall tale, it kept us enthralled with the drama and art that came out of it and continues to to this day, as they were one of the most iconic pop culture couples of the 2010s. Because like Taylor said, they’ll never go out of Style.

[utterlyinevitable]

17 for Raleigh x MC 👀

17. things you said that i wish you hadn’t

From the things you said prompt list. Send me a pairing and number and I’ll write a mini fic!

---

Master of None

“Just sell your song,” Raleigh insisted, not for the first time that day. 

He and Cadence were finally back at her apartment. Raleigh had spent an hour of their afternoon corralling after her rage-fueled tantrum. She had stormed out of the studio once they received news that the label would not be footing the bill for more than 12 masters. Cadence and her team had currently recorded 14 tracks with three more slated this week. The plug being pulled meant that the other two masters will belong to the producer unless Cadence comes up with the money to buy the rights back. 

“It’s my life! My entire story,” she yelled back. “These songs are who I am!” 

She couldn’t part with her work. Her entire heart was tied up in those songs. Where would she get the money to pay for them?    

“And you’ll write another one,” he said flatly from the kitchen where he was making a snack. 

Raleigh had suggested on selling one of the songs to another artist. In true Cadence Dorian fashion she was vehemently against the idea, even if it would give her the cash flow to buy a few of her tracks back. He even offered to loan her the money; of course she scoffed at that. Frankly, Raleigh was tired of hearing her complain and rejecting simple solutions. It wasn’t a hard decision for him.

“You’ll still be on the copyright, who cares if it’s someone else that records it? Sell the song and you’ll have the opportunity to write others.” 

“You don’t get it, Raleigh,” she shook her head and folded her arms across her chest. “You don’t write your music.” 

He looked up from his sandwich and at her, dumbfounded; “I write my songs.” 

“With topliners, composers and ten other people in the room,” she scoffed.  

“Since when is collaboration fraud?” 

“I write 100% of my music. You wouldn’t understand.”  

For Cadence Dorian having complete ownership of and controlling creative liberties of her IP were of upmost importance. She just couldn’t fathom not having her work publicly tied to her name. Yes, Cadence Dorian’s a snob when it comes to craft. 

“You’re living in a delusion,” Raleigh shook his head more to himself than anything as he took another large bite.

He knew Cadence was new to the business and had a fantastical view of how things worked. He knew she thought that getting signed was a saving grace, a lifeline that let her pursue any and all of her creative endeavors. He realized she, never in her wildest dreams, would have imagined the nightmare that comes with the coveted deal. She was naïve to the bone Ellis dangled over her head; of the suits and 360-contracts and how every single thing she does for the next decade will be in service to the label and maximizing their profits. 

Unfortunately, the glass ceiling shattered today.

Maybe Raleigh Carrera wasn’t the most prolific songwriter, but he sure as hell was a fantastic musician and entertainer. His team is composed of amazing composers and lyricists who preferred to not be in the spotlight. They were the A Team. The industry was full of this type of partnership. Raleigh wished she understood that even the most indie of singer-songwriter’s collaborate. Collabing doesn’t diminish the creative integrity, it enhances it.

His small words fueled the fires already tormenting her hazel eyes; 

“If you spent more time worrying about your career than your ridiculous image, maybe you could empathize an inkling. But no,” she spat. 

“You don’t mean that.”

Her arms flailed wildly as she stomped around the living room; “’I’m Raleigh Carrera and I’d rather destroy things and party than write one goddamn good song. I care more about my ‘bad boy’ image than being respected in the community’,” she mocked in her best, deep voiced Raleigh impression. Hands firmly on her hips she added her most damning assessment of his character, “There’s only so much songs about booze and rebelling can do for you. Such hollow and shitty subjects. Write something real, Raleigh.”  

Oh fuck no. Raleigh could handle a slew of shit thrown his way. What he drew the line was his girlfriend calling him a fraud. 

“Say that again when you go double diamond and sell out a worldwide arena tour,” he volleyed right back just as spiteful. The forest fire in his eyes were dangerously close to overtaking hers. “Which you won’t ever get the chance to do if you don’t sell this song. Get your head out of your ass, Cadence.”

She expelled a high pitched huff in frustration.

Neither sad a word. 

Cadence paced over to the expansive windows overlooking the hustle and bustle of New York City. Raleigh watched her every step, waiting for the heat between them to die down enough to cross the distance.

Moments passed and he came to stand beside her, his calloused hand testing the waters at the small of her back. When she didn’t react his thumb began drawing calming circles. 

Ever so softly he broke the harsh silence, “You know I’m right.” 

Cadence stepped from his grasp and turned to look him straight in the eye. “What you are is a thorn in my side,” she huffed out with a breath of air. 

Raleigh’s brows knitted together. Sure she’s mad at the world right now, but what’d this have to do with him? 

“Have you even written a thing in the last six months?” She rose an all-knowing, accusatory brow. “No. You haven’t. Your tour ended last year. Sort out your own damn career before you come after mine.”

The way she said it - with absolutely no feeling and heaps of bitter indifference - struck him to the core. Raleigh Carrera thought Cadence Dorian could be the one he’s be delighted to move mountains for. She was the one that had him falling madly, quickly, deeply in love ever since she materialized in his life. Never would he have guessed she regarded him with contempt. 

“If I’m such a waste why are you with me, huh?” he threw his hands in the air and tried to keep from yelling. “Actually - don’t answer that. I’ll do you one better, Cadence. We’re done.” Raleigh moved through the living space, grabbing his things that were scattered around and shoving them in his leather backpack. 

He was moving too quickly for Cadence to rebuke. She wasn’t fully cognizant with what was happening; her mind was still stuffed with the grief and torment of losing her songs. 

Raleigh was standing at the door when it all clicked together. 

Shit. 

“Lucky for us the world thinks we broke up months ago,” he called before slamming the door.  

Cadence regretted the words the moment the reverberated rattling forced her to realize he had taken her heated rant to heart. Raleigh had been nothing but a wonderful friend and a sweet clandestine lover in the months they’ve been intertwined. She didn’t mean it. She was just pissed that things always seem to work out for him and now she’s stuck.  

But pride would get the best of her and she’d let him walk away for good. 

________________________________________

Masterlist

@choicesficwriterscreations 

Perma:

@rookiemarsswiftie @lucy-268 @binny1985 @thegreentwin @queencarb @danijimenezv @starrystarrytrouble @terrm9 @interobanginyourmom @adrex04 @maurine07 @mercury84choices @schnitzelbutterfingers @theeccentricbibliophile @wingedhairstylemusicweasel @kaavyaethanramsey @mvalentine @rookie-ramsey @drariellevalentine @lifeaskim @otherworldlypresents @therookie @aylaramseycarrera @angela8754 @fireycookie @stateofgracious @missmiimiie @uneravine  @peaceinmidstofchaos @choicesaddict5 @iemcpbchoices

Raleigh: 

@dulceghernandez

[shefanispeculator]

Gwen Stefani had begun working on new music before the lockdown hit, but says it was only when she brought up the idea of reintroducing herself to her collaborators that inspiration struck. “I'm not trying to force myself on anyone, and I'm not trying to have a comeback,” she says with a laugh. “I’m simply going to do some music without feeling defensive about it. Whoever likes me can listen. If you don't like it, you can actually say you don't like it! I don't care. I just want to put music out.”

After cutting a song in February with rising songwriter and producer Luke Niccoli (who’s worked with buzzy acts like Yves Tumor, Miya Folick, and Joji), Stefani was virtually introduced to pop hitmaker Ross Golan (Selena Gomez, The Chicks, P!nk), who suggested the trio write about exactly what the singer was feeling: a desire to remind people that she’s not just records collecting dust on your shelf.

“Let Me Reintroduce Myself,” released Monday, is a feel-good return to the ska/pop/reggae hybrid — record-scratching, horns, a walking bass line — that Stefani perfected during her time fronting No Doubt. Using her downtime in Oklahoma during the pandemic to dig back into ska’s roots, she immersed herself in the history of the genre, leading her to feel like now was the right moment to return to the sounds that first put her on the map 30 years ago. “All of the riots had happened, and I just started thinking so much about when I started loving music and why,” she says. “It was eighth grade when I learned about ska and Madness and the Selecter and all those bands that started to define the kind of music that I felt like I fit into; here I was, this Catholic girl from Anaheim doing reggae music! But that music was all about unity and anti-racism, and that was in the '70s. Then we were doing it in the '90s. And now here we are, again, in the same old mess.”

After the “Let Me Reintroduce Myself” writing session in late August (for which she later cut her vocals safely at the Los Angeles studio, the Village), Stefani began referring to Golan and Niccoli as her “song soulmates,” joining forces on a handful of other Zoom-born songs since then that will, if all goes according to plan, see the light of day some time in 2021. But for now, the No Doubt singer’s new track is a welcome return to form after five seasons judging The Voice, twice topping the country charts with fiance Blake Shelton, and building upon the success of her first-ever Christmas album, 2017’s You Make It Feel Like Christmas. “I just said, "I want to do some reggae,’” she remembers. “And it was just this weird full circle moment, because as soon as I started telling whoever I was going into the studio about that, they were so inspired too.”

In a call late last week, Stefani walked EW through returning to solo music, revisiting her back catalogue on the heels of Tragic Kingdom’s 25th anniversary, and how some of her biggest hits have gained new resonance in recent years.

ENTERTAINMENT WEEKLY: How are you feeling knowing this song is about to come out? GWEN STEFANI: Under the circumstances, to be able to put out new music is just beyond a gift. Even if it wasn't a pandemic it would be exciting, but it's crazy with the pandemic, you know what I'm saying? I just didn't think it was going to come this year or that I'd be this lucky.

What was your headspace like as you went into writing and recording new solo material this year? Well, this is the deal: I haven't really put a record out in five years. That's a long time. I don't know how it went by so quickly. I would have loved to, but I was doing the Vegas show [Just a Girl] and that took up a lot of time. Before that, I toured the record before, [2016’s This Is What the Truth Feels Like], and the next thing you know, five years passed. I also was feeling like... "Does anyone really want to hear new music from me?" It's so much work to make new music, and I think about all the bands that I loved — I don't go looking for their new records. I just listen to the stuff that I liked in high school .

Somebody sent me a song called “When Loving Gets Old,” and I really loved it. Nobody sends me songs. Why doesn't anyone just send me, like, “Umbrella”? I got this song, I actually liked it. I went in to record it. The girl that sent it to me said, "They actually wrote this for you." And I was like, "Really? No wonder the lyrics feel so good. Why don't I write with them?” We wrote this song called “Cry Happy,” made up of all of these lyrics I’d written on my phone. We had this really great day, but I had to rush home to the kids. It's so different these days; you get there and you have to get home to cook dinner, so I didn't get to cut a demo. That was last February. And then we hit lockdown.

I spent a hundred days in Oklahoma, doing laundry and cooking. We had 15 people there. It was an incredible pause on life to be there at the ranch with the boys and just have this surreal lifestyle for a while, but nothing to do with the life included creating music or anything like that. But Blake happens to have a studio there and had to do some work and brought an engineer in. So I recorded the vocals on “Cry Happy,” and that was like lighting a match to a wildfire because I was like, “My god, I’ve got to do music."

You felt inspiration again? I felt all kinds of inspirations and ideas. It's like God saying, "You’ve got to do this now." When I get that urgency, you can't stop me. I'm like, “I’ve got to go write songs. That's what I need right now. And I don't even care if anyone hears them, or if they think they suck, I'm doing it, now.”

When I got back to L.A., I went into the studio. Everything was plastic-guarded. You get your temperature taken. Everybody's wearing masks. By then, all of the riots had happened. I started to go back and investigate ska and reggae, and I found all these documentaries about how ska was born in the 1960s, how that was linked to the Jubilee when Jamaica was being freed from England. Starting No Doubt, we were the third-wave imitating the 1960s.Then I found this documentary on a school in Jamaica called the Alpha Boys School, which was run by Catholic nuns. There's this little white Catholic nun called Sister Mary Ignatius Davies who helped nurture reggae music. You can see all these pictures of her with these little boys and they're learning these brass instruments. The first ska band that was ever born was these kids out of Alpha Boys School, the Skatalites. No Doubt used to listen to them. Doing my research, it all just felt so full-circle.

So this music was born out of that. I wanted to go back and make something that was joyful and back to my roots, where it all started. [Pre-pandemic] I’d been in the studio with Luke Niccoli and he's the one that said you really should work with my friend Ross, who turned out to be someone who really gets my sarcasm, and the fun side of my lyrics. We really hit it off.

With Luke, we taught each other a lot, especially when it came to ska and reggae, because I kept saying, "Dude, no, listen to Sublime. It has to have scratching in it. It has to be '90s." So he was discovering all this stuff that he didn't know, but bringing his technology and youth to the sound. It was a perfect kind of combination between the three of us. And we wrote a bunch of songs together and I know we're going to write more.

Lyrically, “Let Me Reintroduce Myself” addresses the idea of people thinking of you as a relic. Is that how you feel? At the beginning of this process, I feel like I had to make excuses for why I wanted to make new music. I felt like people were going to judge me and be like, "Well, you're like super old. Why would you even want to?" This is just how my brain works. Anyone would, you know what I mean? Everybody has their own fears or insecurities.

Ross’s reaction was [for us to incorporate] a way of saying, “Well, I haven't really gone anywhere if you really think about it.” I just had a No. 1 hit on [country] radio ["Nobody But You"] — two of them actually, because the next one's ["Happy Anywhere"] going to go No. 1 soon [Editor’s note: it did, 24 hours after our call]. We were just trying to say I haven't really gone anywhere. I'm still doing the same thing. I still wear the same kind of stuff that I've always worn. It's just an evolution.

“Let Me Reintroduce Myself” references your past, lyrically and visually. Some artists are really loath to look backwards, but you seem extremely willing to. Why is that? Five years ago, when my life blew up in my face, there was a lot of looking back. Music has always been a really amazing place to pour my heart and emotions into. It's like therapy.

When I was offered to do the Vegas show — a huge milestone for me — it was very reflective. I think it's an incredible thing to put out new music and have your sound evolve, whether it be through the No Doubt years or the three solo records I did. The first solo record [2004’s Love. Angel. Music. Baby.] was very much a dance record — that was the pop music when I was in high school that I wasn't into, but was the backdrop of my life. Back then, I said, "You know what? I want to try to make that kind of music. I want a dance song." It was so incredible to be able to work with all the talented people that I did and have such a different kind of sound like that, which made me want to do the second record, [2007’s The Sweet Escape].

The third solo record was not born in the same way. It didn't have a reference for the production. It was just, “How do I get through this time in my life? I've got to write these songs. I don't care how they're dressed up sonically. It's just getting them out.” During the process of doing that, I fall in love and I'm writing a song about my life basically being over and then starting to fall in love at the same time, all with one album.

After that, it was like, how do I evolve? When you do a new record, usually everything comes with that: the tour, the merch, the vibe. But when you're doing a Vegas show, you don't have a new song. You don't have anything new. How do you create a show around everything you've done? So there was a lot of looking back and thinking about, “How do I make this feel super nostalgic? How do I make this feel like, when everyone's coming from around the whole world to see me in this room, we have this common story, and that these songs were the backdrop to our lives?”

This year marked the 25th anniversary of No Doubt’s Tragic Kingdom. How has that record changed meaning for you over the years? I don't really like anniversaries. I don't really celebrate like, “Oh, I wore that in 1995. Now it's 10 years later, woo!” But then when it actually happened and I started seeing everyone posting and seeing all the stuff that we had done — things I don't remember, until I see the image — I was just overwhelmed, like, "Oh my god, we did that?" It was a really emotional couple of days. I really enjoyed hearing just how much that record impacted people. It really is truly mind-blowing to me that I get to do music, let alone to be part of people's lives in that way. It's hard to wrap my head around it.

I'm really proud of Tragic Kingdom. It was a very weird album. I was so naive. I didn't even know how to write a song. I don't know how I wrote those songs because I didn’t know anything back then. But doing the Vegas show was a really reflective time, because doing a song like “Just a Girl” every night felt more relevant than ever, especially in the last couple of years with the rise of the #MeToo movement. It feels like history repeating itself. We've come far, but we haven't. I always thought that I would outgrow that song and be a woman and not be able to sing the words “I'm just a girl” anymore, but it felt more relevant than it ever felt in my whole life. It was bizarre.

[sinceileftyoublog]

Doug Clifford Interview: Shuffle & Flow

Photo by Brent Clifford

BY JORDAN MAINZER

For All the Money in the World is a time capsule. The album, written by Creedence Clearwater Revival drummer Doug Clifford and Greg Kihn Band bassist Steve Wright, was recorded in 1986 but won’t see the light of day until the end of the month. Since then, it’s been waiting in Cosmo’s Vault--the self-proclaimed storage area for Clifford’s unreleased music--until the right time. “There’s some good music on this album,” Clifford told me over the phone earlier this month. “Right now, more than ever, we need some good music that’s uplifting and makes you feel good.” Plus, for Clifford himself, the tunes have barely scratched the surface: “To me, it’s still new.” 

After Creedence Clearwater Revival broke up in 1972, Clifford released a solo album and later joined the Don Harrison Band, which also featured former CCR bassist Stu Cook. In 1995, he and Cook formed Creedence Clearwater Revisited to play CCR songs live without singer John Fogerty, who retained artistic control over CCR. Revisited’s last show was in February 2020 in Mexico, and based on what Clifford told me, that’s likely their last, at least in this version, as Clifford is suffering from Parkinson’s Disease. All in all, though, he’s ready to move on from those songs, instead choosing to look into different parts of the past. Last year, he unearthed his lost second solo album Magic Window. And now, with For All the Money in the World, released under the name Clifford/Wright, he’s beginning to revisit a series of recorded writing collaborations whose release never came to fruition.

Though Clifford/Wright was formed around the rhythm section, the rest of the band that plays on the album is nothing to sniff at: guitarists Greg Douglass (Steve Miller Band), Jimmy Lyon (Eddie Money) and Joe Satriani and keyboard players Tim Gorman (The Who) and Pat Mosca (Greg Kihn Band). The lead vocalist picked for the project was Keith England, whose emotive howl ties it all together on the title shuffle and stadium anthem “I Need Your Love”. While the first two songs sound like something you might expect to be recorded in 1986, other tracks operate under different styles and recording aesthetics. The rockabilly echo of “She Told Me So” lies in stark contrast to the ripping guitar jaunts of “Lost Pride Fever” and “Weekends” and the funk snap of “You Keep Runnin’ Away” and “Just In The Nick Of Time”. Indeed, some songs on here sound like they could be Steve Miller or Eddie Money jams, but for the most part, they sound like lost relics of rock radio, comfort food for troubling times.

Clifford hopes For All the Money in the World is more than nostalgia, though. For one, he’s “calling the shots,” releasing the album on his own label, Cliffsong Records, with a distribution deal through Bob Frank Entertainment. “It’s like a publisher’s outlet for the songwriters involved,” he said. “It’s really kind of exciting.” His hopes are that the songs do land on today’s rock radio or do well streaming so they can release it on vinyl. “I still get a kick out of it,” Clifford said about hearing his songs on the radio. Not bad for somebody who started playing in bands at age 13. And while it’s very much not a CCR album, he’s excited for CCR fans to hear it, okay with the long-disbanded legendary outfit as the connecting bridge for listeners. They might just come away with a new favorite song.

Pre-save/pre-order For All the Money in the World, out August 27th, here, and read my conversation below with Clifford, edited for length and clarity.

Since I Left You: I was struck by the variety of styles on this album. You think to yourself, “What would music written around the 80′s sound like?” There’s some of that, but there are other sounds, too. Do you remember consciously trying to write in a number of styles?

Doug Clifford: Yes, because we were trying to get a record deal. We were the only writers in the group, and we wanted them to know we could write more than just “Bad Moon Rising”. There’s really not much in there that sounds like Creedence. With Steve Wright on bass, that changes a lot of things. It puts a different spin on it from the standpoint of the house the songs are built on, the rhythm section. It’s exciting. I listen to it as if it’s another band. [laughs] Normally, I don’t do that. Steve passed away in [2017], so we won’t do any more writing or playing, but this album is a chance to hear a great bass player and songwriter. I’ve got three terrific guitar players in there, too, Joe Satriani, Greg Douglass from Steve Miller Band, and Jimmy Lyon from Greg Kihn and Eddie Money. A guitar extravaganza. A lot of good stuff coming from this record.

SILY: Not only does the record sound different from CCR, but I heard a lot of the other projects the players were involved in, like Eddie Money and Steve Miller.

DC: Yeah, but when we were doing the writing, those guys weren’t in the band. Steve Miller is one of my best friends. He loves “She Told Me So” on this record. He sent me an email all excited that said, “I was dancin’ around my studio! You still got it!” [laughs] I love that guy.

SILY: I like songs like that, that have a little more of a shuffle.

DC: That would be [the title track], too. I love shuffles.

SILY: You’ve said people need songs like this at a time like now. When you wrote and recorded them, did you know you’d put them away for a while?

DC: Not really. If you’re a songwriter, you want to have versions of your songs that sound radio-ready instead of just [recorded on] an acoustic guitar. I produced everything that we wrote, so we had good versions of our work and presented it that way. The idea was not to put these things out as albums, but for record companies. Then you’d go out and play, and they’d send their A&R guy. Steve didn’t want to play in any of the clubs we’d have played in, and you need a band that plays, so that started the tailspin of this project. [After that,] I did a solo singer-songwriter album [Magic Window], and I did projects for areas that had overgrown forests and droughts. I had kids that were going to school. So I sort of slowed down on the music and slapped [these songs] in Cosmo’s Vault. That’s where they stayed till a year or so ago. I [finally released Magic Window], but nothing happened because...COVID hit, and it really changed everything. There’s been enough time that we’re all living through the virus that it’s time to hear [For All the Money] on the radio to make me feel good. It’s a labor of love that all songwriters have. Allowing people to hear the excellent musicianship of Steve Wright playing bass. There’s a little difference in my playing as well. It’s fun, really enjoyable.

SILY: When you were originally writing the lyrics and instrumentation, were you going for a feel-good, uplifting type thing?

DC: When you’re looking for someone to invest in you and put you on their label, you want them to like your music, too. I’ve never been a guy to write songs that make you feel bad. [laughs].

SILY: What were you looking for in a vocalist, and why did you end up going with Keith?

DC: We were so fortunate to have Keith in many ways. He was the youngest guy we were working with. I would be the guy to teach him the songs, as the writer of the words. He had to sing those words and get the idea of the song across, which is a big job for any singer. He took special care to get the essence of the song. It makes a big difference to learn the words and melody. I took extra time to write the melody, because I’m putting the words out there, and a lot of time, the melody would depend on what the words were. You have to give the singer places to breathe. I gave Keith liberty to let me know if something wasn’t working for him vocally, to sing it the way he was comfortable. He always came through. The idea of a song is like a chapter in a book. It has to have meaning and a certain ambiance and feel to it. That’s at least my approach to writing and performing, really. He nailed every song in a very professional approach. That’s not an easy thing to do, especially over 11 songs. 

There are other songs in the vault from the sessions that he did. He was the only singer we had. I’d like to see success, not just for myself and Steve, but for Keith. He was the only guy on the session that wasn’t in a band that had a Gold or Platinum album, and he’s very deserving of it. I’d love to see this thing be successful on that level because I’d love to walk up to his front door and knock on it and hand him a Platinum album. He’s still trying to do it. He has been for 30-some odd years. He can still hit most if not all of those notes. He doesn’t complain about it, he just stays at it, trying to get to that spot. I’d like to see that happen for him.

SILY: This album was recorded in a number of different studios, and some tracks do sound a bit lower-fi or raw. Did the difference in sounds among the tracks correspond to the different studios you recorded in?

DC: Not really for that reason. What’s really important is trying to get an attitude out of a certain song. It is rock and roll after all. The sound of the studio wasn’t something that dictated the direction.

SILY: At what point did you decide to name the album after the title track?

DC: That song, the first time I heard it, it was one of those that Steve said, “Listen to this!” He had the chorus and the lyrics. [sings] “For all the money in the world, girl / For all the kisses in the sea, baby...” I went, “That’s a hit.” Whenever I play that song for people, they all say, “That’s a natural hit.” Being a shuffle adds a lot to do with it. Shuffles have a magic to them. You just can’t help but tap your foot. Your body moves with it. The approach to have it be a shuffle is right up my alley. Creedence didn’t ever do one, and I always wanted to have a shuffle to record. There it was! It was a natural as the first song on the record. The second one that’s out now is a different type of song, to show the album’s versatility, but I had an inkling that it might be a good idea to name it after the first song on the album.

SILY: At what point did you come up with the order of the tracks?

DC: Listening. [laughs] That’s very important. Again, they’re like chapters in a book or story. I did a lot of shuffling around--there’s that shuffle again--seeing which order played best. It took a while, but that’s something worth spending time on. You want to get it right.

SILY: You’ve said any of these songs could be a single. Do you have a favorite?

DC: [The title track] is probably my favorite for that reason. It’s simplistic in its style, and usually, those are the best ones, the easiest ones to understand, though everybody has their own understanding of music. It is art; you can look at a painting, and 10 different people can have different opinions on it. It’s the same with music. Each song has a different meaning to a different person. That’s great; that way you can touch millions of people instead of 10.

SILY: What’s the story behind the album art?

DC: The story behind the album art is my son [Grady Clifford] did it and I needed a cover. That’s it! I didn’t tell him anything. When I saw it for the first time, I just went, “Wow!” He’s very talented. He did the Revisited cover. Whenever I need art, I don’t tell him what to do. He just does it. My wife [Laurie Clifford] is an artist, too. She did the artwork for [CCR]’s first album. Very recently, she got it in the de Young Museum. They had a show of album covers from the 60′s. The Clifford family has a drummer and artists. One of the things about going from vinyl to CDs is the art is a pretty good size. I miss a lot of aspects of the packaging. I have a couple of good album cover folks within the confines of the house here.

SILY: What’s next from the vault?

DC: A project I did with the same songwriting concept. Two of us did all the writing. The other guy was Bobby Whitlock. I’ve got a Bobby Whitlock album with a group we had for a short while. Bobby’s wife didn’t like living in the East Bay. She wanted to live in the Northeast. Happy wife, happy life, so we had to split when we were close to getting a deal. Another addition to Cosmo’s Vault!

[livingdeadinsideyourhead]

Free Music in a Capitalist Society - Iggy Pop's Keynote Speech Transcript

Hi, I'm Iggy Pop. I've held a steady job at BBC 6 Music now for almost a year, which is a long time in my game. I always hated radio and the jerks who pushed that shit music into my tender mind, with rare exceptions. When I was a boy, I used to sit for hours suffering through the entire US radio top 40 waiting for that one song by The Beatles and the other one by The Kinks. Had there been anything like John Peel available in my Midwestern town I would have been thrilled. So it's an honor to be here. I understand that. I appreciate it.

Some months ago when the idea of this talk came up I thought it might be okay to talk about free music in a Capitalist society. So that's what I'm gonna try to talk about. A society in which the Capitalist system dominates all the others, and seeks their destruction when they get in its way. Since then, the shit has really hit the fan on the subject, thanks to U2 and Apple. I worked half of my life for free. I didn't really think about that one way or the other, until the masters of the record industry kept complaining that I wasn't making them any money. To tell you the truth, when it comes to art, money is an unimportant detail. It just happens to be a huge one unimportant detail. But, a good LP is a being, it's not a product. It has a life-force, a personality, and a history, just like you and me. It can be your friend. Try explaining that to a weasel.

As I learned when I hit 30 +, and realized I was penniless, and almost unable to get my music released, music had become an industrial art and it was the people who excelled at the industry who got to make the art. I had to sell most of my future rights to keep making records to keep going. And now, thanks to digital advances, we have a very large industry, which is laughably maybe almost entirely pirate so nobody can collect shit. Well, it was to be expected. Everybody made a lot of money reselling all of recorded musical history in CD form back in the 90s, but now the cat is out of the bag and the new electronic devices which estrange people from their morals also make it easier to steal music than to pay for it. So there's gonna be a correction.

When I started The Stooges we were organized as a group of Utopian communists. All the money was held communally and we lived together while we shared the pursuit of a radical ideal. We shared all song writing, publishing and royalty credits equally – didn’t matter who wrote it - because we'd seen it on the back of a Doors album and thought it was cool, at least I did. Yeah. I thought songwriting was about the glory, I didn't know you'd get paid for it. We practiced a total immersion to try to forge a new approach which would be something of our own. Something of lasting value. Something that was going to be revealed and created and was not yet known.

We are now in the age of the schemer and the plan is always big, big, big, but it's the nature of the technology created in the service of the various schemes that the pond, while wide, is very shallow. Nobody cares about anything too deeply expect money. Running out of it, getting it. I never sincerely wanted to be rich. There is a, in the US, we have this guy “Do you sincerely wanna be rich? You can do it!” I didn’t sincerely want to be rich. I never sincerely felt like making anyone else that way. That made me a kind of a wild card in the 60's and 70's. I got into the game because it felt good to play and it felt like being free. I'm still hearing today about how my early works with The Stooges were flops. But they're still in print and they sell 45 years later, they sell. Okay, it took 20 or 25 years for the first royalties to roll in. So sue me.

Some of us who couldn't get anywhere for years kept beating our heads against the same wall to no avail. No one did that better than my friends The Ramones. They kept putting out album after album, frustrated that they weren't getting the hit. They even tried Phil Spector and his handgun. After the first couple of records, which made a big impact, they couldn't sustain the quality, but I noticed that every album had at least one great song and I thought, wow if these guys would just stop and give it a rest, society would for sure catch up to them. And that's what's happening now, but they're not around to enjoy it. I used to run into Johnny at a little rehearsal joint in New York and he'd be in a big room all alone with a Marshall stack just going "dum, dum, dum, dum, dum" all my himself. I asked him why and he said if he didn't practice doing that exactly the way he did it live he'd lose it. He was devoted and obsessive, so were Joey and Deedee. I like that. Johnny asked me one day - Iggy don't you hate Offspring and the way they're so popular with that crap they play. That should be us, they stole it from us. I told him look, some guys are born and raised to be the captain of the football team and some guys are just gonna be James Dean in Rebel Without a Cause and that's the way it is. Not everybody is meant to be big. Not everybody big is any good.

I only ever wanted the money because it was symbolic of love and the best thing I ever did was to make a lifetime commitment to continue playing music no matter what, which is what I resolved to do at the age of 18. If who you are is who you are that is really hard to steal, and it can lead you in all sorts of useful directions when the road ahead of you is blocked and it will get blocked. Now I'm older and I need all the dough I can get. So I too am concerned about losing those lovely royalties, now that they've finally arrived, in the maze of the Internet. But I'm also diversifying my income, because a stream will dry up. I'm not here to complain about that, I'm here to survive it.

When I was starting out as a full time musician I was walking down the street one bright afternoon in the seedier part of my Midwestern college town. I passed a dive bar and from it emerged a portly balding pallid middle aged musician in a white tux with a drink in one hand and a guitar in the other. He was blinking in the daylight. I had a strong intuition that this was a fate to be avoided. He seemed cut off from society and resigned to an oblivious obscurity. A bar fly. An accessory to booze. So how do you engage society as an artist and get them to pay you? Well, that's a matter of art. And endurance.

To start with, I cannot stress enough the importance of study. I was lucky to work in a discount record store in Ann Arbor Michigan as a stock boy where I was exposed to a little bit of every form of music imaginable on record at the time. I listened to it all whether I liked it or not. Be curious. And I played in my high school orchestra and I learned the joy of the warm organic instruments working together in the service of a classical piece. That sticks with you forever. If anyone out there can get a chance to put an instrument and some knowledge in some kids hand, you've done a great, great thing.

Comparative information is a key to freedom. I found other people who were smarter than me. To teach me. My first pro band was a blues band called The Prime Movers and the leader Michael Erlewine was a very bright hippy beatnik with a beautifully organized record collection in library form of The Blues. I'd never really heard the Blues. That part of our American heritage was kept off the major media. It was system up, people down. No Big Bill Broonzy on BBC for us. Boy I wish! No money in it. But everything I learned from Michael's beautiful library became the building blocks for anything good I've done since. Guys like this are priceless. If you find one, follow him, or her. Get the knowledge.

Once in secondary school in the 60's some class clowns dressed up the tallest guy in school in a trench coat, shades and a fedora and rushed him in to a school dance with great hubbub proclaiming "Del Shannon is here, Del Shannon is here." And until they got to the stage we all believed them, because nobody knew what Del Shannon looked like. He was just a voice on some great records. He had no social ID. By the early 60's that had really changed with the invasion of The Beatles and The Stones. This time TV was added to the mix and print media too. So you knew who they were, or so you thought anyway. I'm mentioning this because the best way to survive the death or change of an industry is to transcend its form. You're better off with an identity of your own or maybe a few of them. Something special.

It is my own personal view having lived through it that in America The Beatles replaced our assassinated president Kennedy, who represented our hopes for a certain kind of society. Didn’t get there. And The Stones replaced our assassinated folk music which our own leaders suppressed for cultural, racial, and financial reasons. It wasn't okay with everybody to be Kennedy or Muddy Waters, but those messages could be accepted if they came through white entertainers from the parent culture. That's why they’re still around.

Years later I had the impression that Apple, the corporation, had successfully co-opted the good feelings that the average American felt about the culture of the Beatles, by kind of stealing the name of their company so I bought a little stock. Good move. 1992. Woo! But look, everybody is subject to the rip off and has to change affiliations from time to time. Even Superman and Barbie were German before America tempted them to come over. Tough luck, Nietzche.

So who owns what anyway. Or as Bob Dylan said "The relationships of ownership." That’s gates of Eden. Nobody knows for long, especially these days. Apparently when BBC radio was founded, the record companies in England wouldn't allow the BBC to play their master recordings because they thought no one would buy them for their personal use if they could hear them free on the radio. So they were really confused about what they had. They didn’t get it. And how people feel about music. ‘Cause it’s a feel thing, and it resists logic. It’s not binary code. Later when CD's came in, the retail merchants in American all panicked because they were just too damn tiny and they thought that Americans want something that looks big, like a vinyl record. Well they had a point but their solution was a kind of Frankenstein called "The Long Box." It didn't fool anybody because half of it was empty. It had a little CD in the bottom. You’d open it up and it was empty. Now we have people in the Sahara using GPS to bury huge wads of Euros under sand dunes for safe keeping. But GPS was created for military spying from the high ground, not radical banking so any sophisticated system, along with the bounty it brings, is subject to primitive hijacking.

I wanna talk about a type of entrepreneur who functions as a kind of popular music patron of the arts. It’s good to know a patron. I call him El Padron because his relationship to the artist is essentially feudal, though benign. He or she (La Padrona) if you will, is someone, usually the product of successful, enlightened parents, who owns a record company, but has had benefit of a very good education, and can see a bigger picture than a petty business person. If they like an artists’ style and it suits them, they'll support you even if you’re not a big money spinner. I can tell you, some of these powerful guys get so bored that if you are fun in the office, you’ll go places. Their ancestors, the old time record crooks just made it their business to make great, great records, but also to rip off the artist 100%, copyright, publishing, royalty splits, agency fees, you name it. If anyone complained the line was "Pay you? We worship you!" God bless Bo Diddley.

By the time I came along, there was a new brand of Padron. People like this are still around and some can help you. One was named Jack Holzman. Jack had a beautiful label called Elektra Records, they put out Judy Collins, Tim Buckley, the Doors and Love. He'd started working in his family record store, like Brian Epstein. He dressed mod and he treated us very gently. He was a civilized man. He obviously loved the arts, but what he really wanted to do was build his business - and he did. He had his own concerns, and style, and you had to serve them, and of course when he sold out, as all indies do, you were stranded culturally in the hands of a cold clumsy conglomerate. But he put us in the right studios with the right producers and he tried to get us seen in the right venues and it really helped. This is a good example of the industry.

Another good guy I met is Sir Richard Branson. I ended up serving my full term at Virgin Records having been removed from every other label. And he created a superior culture there. People were happier and nicer than the weasels at some other places. The first time he tried to sign me it didn't work out, because I had my sights set on A&M, a company I thought would help make me respectable. After all they had Sting! Richard was secretly starting his own company at the time in the US and he phoned me in my tiny flat with no furniture. He said he'd give me a longer term deal with more dough than the other guys and he was very, very polite and soft spoken. But I had just smoked a joint that day and I couldn't make a decision. So I went with the other guys who soon got sick of me. Virgin picked me up again later on the rebound. And on the cheap. Damn. My own fault.

Another kind of indie legend who is slightly more contemporary is Long Gone John of the label Sympathy for the Record Industry. Good name. John is famous with some artists for his disinterest in paying royalties. He has a very interesting music themed folk art collection – its visible online - which includes my leather jacket. I wish he'd give it back. There are lots of indie people with a gift for organization who just kind of collect freaks and throw them up at the wall to see who sticks. You gotta watch 'em.

When you go a step down creatively from the Padrons who are actually entrepreneurs you get to the executives. You don't wanna know these guys. They usually came over from legal or accounting. They have protégés usually called A&R men to do their dirty work. You can become a favorite with them if your fame or image might reflect limelight on their career. They tend to have no personalities to speak of, which is their strength. Strangely they're never really thinking about the good of their parent company as much as old number one. Avoid them. If you’re an artist, they’ll make you sick or suicidal. The only good thing the conglomerate can do for you – and they’ve done it recently for me - is make you really, really ubiquitous. They do that well. But, when the company is your banker, then you are basically gonna be the Beverly Hill Billies. So it's best not to take their money. Especially when you’re young. These are very tough people, and they can hurt you.

So who are the good guys?! They asked me when they read this thing at BBC 6 Music. Well there are lots of them. If fact, today there are more than ever and they are just about all indies, but first I want to mention Peter Gabriel and WOMAD for everything they've done for what seems like forever to help the greatest musicians in the world, the so called world musicians to gain a foothold and make a living in the modern screwed up cash and carry world. Traditional music was never a for profit enterprise, all the best forms were developed as a kind of you’re job in the community. It was pretty good, it was “Yeah, I’m a musician, I’m gonna skip like doing the dishes or taking the trash out.” It's not surprising that all the greatest singers and players come from parts of the world where everybody is broke and the old ways are getting paved over. So it's crucial for everyone that these treasures not be lost. There are other people of means and intelligence who help others in this way like Philip Glass through Tibet House, David Burn with Luaka Bop, Damon Albarn through Honest John Records. Shout out to Hypnotic Brass Ensemble. Almost all the best music is coming out on indies today like XL Matador, Burger, Anti, Epitaph, Mute, Rough Trade, 4 A D, Sub Pop, etc. etc.

But now YouTube is trying to put the squeeze on these people because it's just easier for a power nerd to negotiate with a couple big labels who own the kind of music that people listen to when they're really not that into music, which of course is most people. So they've got the numbers. But the indies kind of have the guns. I've noticed that indies are showing strength at some of the established streaming services like Spotify and Rhapsody – people are choosing that music. And it's also great that some people are starting their own outlets, like Pledge Music, Band Camp or Drip. As the commercial trade swings more into general show biz the indies will be the only place to go for new talent, outside the Mickey Mouse Club, so I think they were right to band together and sign the Fair Digital Deals Declaration.

There are just so many ways to screw an artist that it's unbelievable. In the old vinyl days they would deduct 10% "breakage fees" for records supposedly broken in shipping, whether that happened or not, and now they have unattributed digital revenue, whatever the **** that means. It means money for some guy’s triple bypass. I actually think that what Thom Yorke has done with Bit Torrent is very good. I was gonna say here: “Sure the guy is a pirate at Bit Torrent” but I was warned legally, so I’ll say: “Sure the guy a Bit Torrent is a pirate’s friend” But all pirates want to go legit, just like I wanted to be respectable. It’s normal. After a while people feel like you’re a crook, it’s too hard to do business. So it’s good in this case that Thom Yorke is encouraging a positive change. The music is good. It’s being offered at a low price direct to people who care.

I want to try to define what I am talking about when I say free. For me in the arts or in the media, there are two kinds of free. One kind of free is when the process is something that people just feel for you. You feel a sense of possibility. You feel a lack of constraint. This leads to powerful, energetic, sometimes kind of loony situations.

Vice Media is an interesting case of this because they started as a free handout, using public funds, and they had open, free-wheeling minds. Originally a free handout was called Voice and these kids were like “Just get rid of the old! I don’t wanna be Vice, yeah!” Okay. By taking an immersive approach with no particular preconceptions to their reporting, they've become a huge success, also through corporate advertising, at attracting big, big money investment hundreds of millions of dollars now pumped into Fox Media and a couple of others bigger than that in the US. And they get it because they attract lots of little boy eyeballs. So they brought us Dennis Rodman in North Korea. And it’s kind of a travesty, but it’s kind of spunky. It's interesting that capital investment, for all its posturing, never really leads, it always follows. They follow the action. So if it's money you're after, be the yourself in a consistent way and you might get it. You’ll at least end up getting what you are worth and feel better. Just follow your nose.

The second kind of freedom to me that is important in the media is the idea of giving freely. When you feel or sense that someone that someone is giving you something not out of profit, but out of self-respect, Christian charity, whatever it is. That has a very powerful energy. The Guardian, in my understanding, was founded by an endowment by a successful man with a social conscience who wanted to help create a voice for what I would call the little guy. So they have a kind of moral mission or imperative. This has given them the latitude to try to be interesting, thoughtful, helpful. And they bring Edward Snowden to the world stage. Something that is not pleasant for a lot of people to hear about, but we need to know.

These two approaches couldn't be more different. To justify their new mega bucks Vice will have to expand and expand in capital terms. Presumably they'll have to titillate a dumb, but energetic audience. Of course all capitalist expansions are subject to the big bang – balloon, bust, poof, and you’re gone. As for the Guardian I would imagine that the task involves gaining the trust and support of a more discerning, less definable reader, without spending the principal. There is usually an antipathy between cultural poles, but these two actually have a lot in common in terms of the energy and nuisance to power that they are willing to generate. I wish red and blue could come together somehow.

Sometimes I'd rather read than listen to music. One of my favourite odd books is Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin. I bought the book in the 90's because a couple of my bootlegs were mentioned. I loved my bootlegs. They did a lot for me. I never really thought about the dough much. I liked the titles, like Suck on This, Stow Away DOA or Metalic KO. The packaging was always way more creative and edgy than most of my official stuff. So I just liked being seen and heard, like anybody else. These bootleggers were creative. Here are two quotes from the dust jacket by veteran industry stalwarts on the subject of bootlegs in 1994.

"Bootleg is the thoroughly researched and highly entertaining tale of those colorful brigands, hapless amateurs, and true believers who have done wonders for my record collection. Rock and roll doesn't get more underground than this." – that was David Fricke, the music editor of Rolling Stone "I think that bootlegs keep the flame of the music alive by keeping it out of not only the industry's conception of the artist, but also the artist's conception of the artist." – that was Lenny Kaye from the Patti Smith group, musician, critic and my friend.

Wow!! Sounds heroic and vital!

I wonder what these guys feel about all of this now, because things have changed, haven't they? We are now talking about Megaupload, Kim Dot Com, big money, political power, and varying definitions of theft that are legally way over my head. But I know a con man when I see one. I want to include a rant from an early bootlegger in this discussion because it's so passionate and I just think it's funny.

This is Lou Cohan "If anybody thinks that if I have purchased every single Rolling Stones album in existence, and I have bought all the Rolling Stones albums that have been released in England, France, Japan, Italy, and Brazil that if I have an extra $100 in my pocket instead of buying a Rolling Stones bootleg I am going to buy a John Denver album or a Sinead O'Conner album, they are retarded."

So the guy is trying to say don't try to force me. And don't steal my choice. And the people who don't want the free U2 download are trying to say, don't try to force me. And they've got a point. Part of the process when you buy something from an artist. It’s a kind of anointing, you are giving people love. It’s your choice to give or withhold. You are giving a lot of yourself, besides the money. But in this particular case, without the convention, maybe some people felt like they were robbed of that chance and they have a point. It’s not the only point. These are not bad guys. But now, everybody's a bootlegger, but not as cute, and there are people out there just stealing the stuff and saying don't try to force me to pay. And that act of thieving will become a habit and that’s bad for everything. So we are exchanging the corporate rip off for the public one. Aided by power nerds. Kind of computer Putins. They just wanna get rich and powerful. And now the biggest bands are charging insane ticket prices or giving away music before it can flop, in an effort to stay huge. And there's something in this huge thing that kind of sucks.

Which brings us to Punk. The most punk thing I ever saw in my life was Malcolm McLaren's cardboard box full of dirty old winkle pinkers. It was the first thing I saw walking in the door of Let It Rock in 1972 which was his shop at Worlds End on the Kings Road. It was a huge ugly cardboard bin full of mismatched unpolished dried out winkle pickers without laces at some crazy price like maybe five pounds each. Another 200 yards up the street was Granny Takes a Trip, where they sold proper Rockstar clothes like scarves, velvet jackets, and snake skin platform boy boots. Malcolm's obviously worthless box of shit was like a fire bomb against the status quo because it was saying that these violent shoes have the right idea and they are worth more than your fashion, which serves a false value. This is right out of the French enlightenment.

So is the thieving that big a deal? Ethically, yes, and it destroys people because it's a bad road you take. But I don't think that's the biggest problem for the music biz. I think people are just a little bit bored, and more than a little bit broke. No money. Especially simple working people who have been totally left out, screwed and abandoned. If I had to depend on what I actually get from sales I’d be tending bars between sets. I mean honestly it’s become a patronage system. There’s a lot of corps involved and I don’t fault any of them but it’s not as much fun as playing at the Music Machine in Camden Town in 1977. There is a general atmosphere of resentment, pressure, kind of strange perpetual war, dripping on all the time. And I think that prosecuting some college kid because she shared a file is a lot like sending somebody to Australia 200 years ago for poaching his lordship's rabbit. That's how it must seem to poor people who just want to watch a crappy movie for free after they’ve been working themselves to death all day at Tesco or whatever, you know.

If I wanna make music, at this point in my life I'd rather do what I want, and do it for free, which I do, or cheap, if I can afford to. I can. And fund through alternative means, like a film budget, or a fashion website, both of which I've done. Those seem to be turning out better for me than the official rock n roll company albums I struggle through. Sorry. If I wanna make money, well how about selling car insurance? At least I'm honest. It's an ad and that's all it is. Every free media platform I've ever known has been a front for advertising or propaganda or both. And it always colors the content. In other words, you hear crap on the commercial radio. The licensing of music by films, corps, and TV has become a flood, because these people know they're not a hell of a lot of fun so they throw in some music that is. I'm all for that, because that's the way the door opened for me. I got heard on tv before radio would take a chance. But then I was ok. Good. And others too. I notice there are a lot of people, younger and younger, getting their exposure that way. But it's a personal choice. I think it’s an aesthetic one, not an ethical one.

Now with the Internet people can choose to hear stuff and investigate it in their own way. If they want to see me jump around the Manchester Apollo with a horse tail instead of trying to be a proper Rockstar, they can look. Good. Personally I don't worry too much about how much I get paid for any given thing, because I never expected much in the first place and the whole industry has become bloated in its expectations. Look, Howling Wolf would work for a sandwich. This whole thing started in Honky Tonk bars. It's more important to do something important or just make people feel something and then just trust in God. If you're an entertainer your God is the public. They'll take care of you somehow. I want them to hear my music any old which way. Period. There is an unseen hand that turns the pages of existence in ways no one can predict. But while you’re waiting for God to show up and try to find a good entertainment lawyer.

It's good to remember that this is a dream job, whether you're performing or working in broadcasting, or writing or the biz. So dream. Dream. Be generous, don’t be stingy. Please. I can't help but note that it always seems to be the pursuit of the money that coincides with the great art, but not its arrival. It's just kind of a death agent. It kills everything that fails to reflect its own image, so your home turns into money, your friends turn into money, and your music turns into money. No fun, binary code – zero one, zero one - no risk, no nothing. What you gotta do you gotta do, life's a hurly-burly, so I would say try hard to diversify your skills and interests. Stay away from drugs and talent judges. Get organized. Big or little, that helps a lot.

I'd like you to do better than I did. Keep your dreams out of the stinky business, or you'll go crazy, and the money won't help you. Be careful to maintain a spiritual EXIT. Don't live by this game because it's not worth dying for. Hang onto your hopes. You know what they are. They’re private. Because that's who you really are and if you can hang around long enough you should get paid. I hope it makes you happy. It's the ending that counts, and the best things in life really are free.