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erensonly · 2 months

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You know how ghost always has his mask on, what would be reader reaction seeing ghosts face for the first time but in a way she doesn't know its him and she goes like "who the fuck is that??? 🤨🤨🤨🤨"

🍒anon

butcher shop buddies (simon riley x reader)

i dont know why i laughed so hard at this. thanks for the ask!! oh can i call you cherry-berry anon?

warnings: fluff, ooc ghost, not proofread sorry, use of 'pretty' and 'cute', no use of pronouns but i may use them in future parts, dad joke, probably incorrect butcher information, i was hungry writing this.

please feel free to message me and let me know if i missed any warnings

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maybe reader is a civvie and she frequents this one particular butcher shop so you can get meat packages for cheap. this is the first time you see ghost. he's standing in front of the case of meats trying to determine which cut of steak he wanted, while you were there seeing if the people on tiktok were serious about meat packages being cheap. groceries are getting too expensive and you wanted to try your hand at birria tacos.

while taking a look around, you didn't notice the larger man inching closer to you. "d'ya know which cut you're looking for?" naturally, you flinch an take a step back. what is this mammoth of a man doing bending down to your level to help you look for meat? but his accent is silly but pleasing to listen to, so you give him a vague answer. "kinda," you say with a shrug.

"i heard they do these packages of meats that can last me a while. and i've been craving birria tacos, so i need beef for that as well." he silently just leads you to the other side of the case and starts talking to the man standing there. it's like they've known each other for a while. you tune them out to make sure you have everything else checked off of your mental grocery list. when you tune back in, the butcher is slicing some meats up and the man was still standing there.

"thank you so much for your help." this was directed at both men, but only the butcher responded with a "you're welcome" while the other man just nodded at you, before taking his purchase and leaving the store. what a strange man.

this is how you guys started to see each other at least once a month at the same butcher shop/supermarket. he had introduced himself to you as ghost before telling you that you could call him simon. he was actually a kinda funny guy. easy to misunderstand his jokes if you dwell on it too long, but also easy to laugh at if you share the same sense of dry humor. he didn't have much to say at first, cracking jokes at the wrong times, but other than that, there was nothing else for him to say.

i feel like ghost doesn't stop yapping around people that he's comfortable with. like he talks about everything and nothing at the same time. this is how you came to find out that he was in the military, he has family but they're the men from his task force, he travels for work often, and knows every dad joke to ever exist. he's a simple man.

he thrives on routine and familiarity. he makes it a habit to meet you once or twice a month at the shops, go grab a coffee -tea for him- and have a good conversation before going about his day. you ask for his number so you can communicate with him outside of your mini meet-ups and he agrees. now you send whatever meme made you laugh that day and a picture of what you were doing, and he sends you a joke of the day and picture of what he was doing.

he liked getting your cute selfies showing your outfit of the day, or the puzzle you finally completed after losing a piece a month ago, or his personal favorite pictures of you cuddled up with your cat pawl.

i feel like simon is a dog person outwardly, but he didn't realize how much he actually liked cats because he never had one growing up. so seeing you all cozy and pretty with your cat trying to escape your kiss, simon felt like he finally had something to look forward to. now he wanted you to see him for him.

when you walk into the shop, you're expecting simon to be waiting at the counter like he always did, chatting it up with his butcher friend. but instead, you see a blonde man with a black medical mask on talking to the butcher. maybe he's just late.

you walk to your normal spot to wait when the man turns to you and speaks. "how ya doin' today, love?" it startled you. who is this man and why is his voice familiar and why is he so attractive. "who the hell are you?" you couldn't help the confusion on your face; why is he talking to you. he just laughs and laughs, obviously finding your confusion hilarious.

"what did baby corn say to mama corn?" you were more confused. who's baby and mama corn? "go on," you encourage.

"where's pop corn?" this set you off. laughing louder than you probably should. "simon, how are you, darling?" you both had endearing names for each other even though you were just friends. it just came naturally.

"hungry. wanna stop at this one diner i know? they have amazing burgers."

that's how you find yourself eating a cheeseburger with simon who has taken his mask off by now. he was a very attractive man, not that you doubted it before. sharp square shaped jawline, crooked nose from being broken too many times, beautiful honey brown eyes contrasted by his long blonde lashes. he had a mole on the side of his nose, and scars on his face but they only added to his ruggedness; his attractiveness.. it didn't help that he was 6"4 with big strong arms, nice sized pecs, and on the rare occasion he would send you a mirror selfie without a hoodie on, you could see through his shirt that he had a nice soft belly. (my personal favorite build)

you were glad he was comfortable enough with you to be willingly vulnerable with you. maybe this relationship could escalate so much more.

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should i make more parts to this? i already have a few ideas.

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boanerges20 · 5 months

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Simon Andrews † British Superbikes [BSB] 2014

#motorcycle #simon andrews #†#british superbikes #bsb #2014 #sport bike #racing #motorsports #ride hard or go home #built for speed #moto love #lifestyle

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namakes · 2 days

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I'm not making this an actual fic (probably), but wanted to write out some stuff for splatoon/bloodborne AU anyway so text post it is. Will not be terribly lore compliant.

Shiver is a (human) hunter who had been using a chikage until she found the boom hammer, and fell in love with its explosive swings. She still goes back to her old weapon sometimes, just to keep things fresh. Wields her weapons in the opposite hands (gun right, melee left).

Frye was human, also a hunter, until she got afflicted with ashen blood-- which eventually caused her to turn into a blood starved beast. She pulled the skin off her own chest/back during the transformation in an attempt to get the uncomfortable feeling of the affliction to stop (didn't work, though it's where her "veil" is from). After this she kept to herself, generally avoiding other beasts and humans. Is always hungry, which is something that didn't change much from when she was human.

The two used to be hunting partners, and were very close. They shared a small house before Frye became a beast; she left during the change so she wouldn't hurt her partner. Shiver devoted more of herself to the hunt afterwards; her left eye started showing signs of blood-drunkenness, so now she always keeps it covered.

Despite Frye's attempts to stay hidden, Shiver ran into her on a hunt anyway. Though she doesn't bear much, if any, resemblance to her old human self, the bracelet she always wore (a now slightly dirtier yellow/purple cord with a little gold squid hanging off it) was still around her wrist. Shiver (absolutely did not) started crying when she noticed it and dropped her weapons (probably almost died before Frye also recognized her).

Now Frye follows her around, helping her on the occasion she goes hunting and mooching for blood cocktails (Shiver usually complains about the price). They're looking for somewhere safe to stay where the locals won't attack either of them Frye in her current state. Shiver heard a rumor about an old, burnt and forgotten town-- a home to beasts-- that they might be able to rest at...

#splatoon #bloodborne #sorry tags don't look at me #that's spltn characters in bb universe not the other way around btw #also mostly just an excuse to have friendly bsb #shiver gave her a bath once (after much bribery) so her hair is all clean and soft #frye's hair is probably like mostly dark roots fading to blondeish?#or smth idk #this feels kind of lame but who give a shit post it anyway!!#I actually started this a while ago but didn't finish it until now #bsb my beloved...#we need bloodborne on pc so i can play it without having to boot up the ps4 and turn on the tv #and also for mods #shiv could also use simon's bow blade (stringer) though... hmm......#utsufuu #sort of #to me

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alarrytale · 7 months

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Rebecca and Katie sued. It is criminal to forge documents for a child and force Louis to fake Freddie's documents. It is illegal. Any judge same as with BSB would rule the NDA and contracts that force Louis to commit criminal acts as null and void. Otherwise Rebecca and Katie would have never been able to sue. They'd be slaves forever. Which is impossible under California's laws about NDAs from 1st January 2019. Under UK laws about even MP's were sued over using NDA's to cover criminal activity.

More contract talk and bg talk under the cut (from the same anon i figure...) and me trying to explain the basic workings of the world to someone i'm not sure is willing to listen...

"Bass and his bandmates managed to jump clear of the wreckage using a buried clause in their contracts – that stipulated Pearlman had to sign the group to a US label – to declare it null and void. The judge in the case was flabbergasted at Pearlman’s claim, that according to his contract and ownership of the band name he was ‘NSync, and therefore entitled to 90% of their earnings. She ruled for the band and the implosion." If criminal any NDA, any contract can be ruled null and void. Explain?

The only thing that's criminal here is your unwillingness to listen and understand, your willful ignorance, and your use of strawman arguments to land on the wrong conclusions.

Everyone can sue everyone, but not everyone will have a claim or a case. Okay? Rebecca and Katie have sued, and how is that going for them?

No one has said that Simon Cowell or Sony gave Louis the pen to sign the birth sertificate, it wasn't done under duress. The alternatives for Louis was probably much worse, or he had no choice (we've talked about this many times before so i'm not going to repeat this part).

It is illegal as you say, but it can't be proven. And no one is interested in proving it either. The prosecutors have zero evidence of Louis faking it. They would have if there was a negative DNA test. There isn't. Louis can just claim he thought he was the father. Like 100k+ other fathers before him. It's not illegal to be dumb. Louis on the other hand has got plenty of evidence to back up his claim that he didn’t know. He's was with B the night she got 'pregnant', he's paying child support, he has custody of the kid (at least on paper) and claims him as his own. There also isn't a real father out there contesting paternity (that would be Brett). So Louis will never ever be of any interest to any prosecutors and if he were, Louis would win the case. Easy.

As long as Louis is on that birth certificate he's the father and has legal rights as a father to sign other documents on behalf of F. You see how things work now?

Even if he'd come out as gay it wouldn't be evidence of interest for the prosecutors to use. He's off the hook then too.

And what if he'd break his NDAs and claim he isn't the father? Well then he'd incriminate himself. So that isn't in his best interest. Get it now?

The only way out of this all is to take a DNA test, and it will of course be negative, and he'll go 'omg i'm not the father, but i was convinced i was!'. Everyone will come out of this unscathed.

And to your second ask. You are mixing apples and oranges. An NDA isn't the same as a label or management contract. An NDA can't state that management can take 90% of earnings. That would be in the management contract. Nsync had a good case against Pearlman. The burden of proof was on their side. It obviously isn't in 1d or Louis case, since we haven't had a lawsuit yet. They must know they have too little proof. Sony aren’t dumb, they are also not unreasonable. As long as you willingly sign a contract and both parties holds up their end of their deal, it's hard to sue and win.

#anon about what louis said in athens:#i accidentially deleted your ask #but i generally spend little time thinking about how antis rationalises things #sweep it under the rug i guess?#contracts #boyband politics #babygate for ts

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vampirezogar · 11 months

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My latest Bloodborne playthrough has been uh... little funky? The NPCs are just not showing up whenever their relocations trigger. Eileen fuckin vanished, Henryk never showed up, Adella never showed up in oeden chapel, which is no great loss, but my sedative plug granny is also missing! Arianna doesn't want to leave her house, same with lary contrary... Alfred's summon sign didn't show up on BSB (I had plenty of insight), but he did move to his second location near Forbidden Woods entrance. Also I crashed after BSB and Gehrman was like "you better go seek that chalice! heehoo, chalice time!" even though BSB was gone as fuck. Using the church of the good chalice lamp a couple times shook things loose and it appeared in my inventory, but... idk.

I checked Iosefka's Clinic, it doesn't look like I sent anyone there accidentally.

My worry is that my first run in the DLC might get busted if Simon breaks or if Ludwig's head doesn't spawn or if Adeline disappears when she changes into Just A Head. I'm excited to play with DLC weapons and play dress up, so I don't want to miss out on stuff you get from NPCs

But hey, jank is part of the game. No free sedatives or special blood vials is just another challenge 👍

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occupyhades · 3 months

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God's Whistleblower

The eyes of the LORD are in every place, keeping watch on the evil and the good. Proverbs 15:3 (ESV)

One day the members of the heavenly court came to present themselves before the LORD, and the Accuser, Satan, came with them. “Where have you come from?” the LORD asked Satan. Satan answered the LORD, “I have been patrolling the earth, watching everything that’s going on.” Job 1:6-7 (NLT)

This is how we know who the children of God are and who the children of the devil are: Anyone who does not do what is right is not God’s child, nor is anyone who does not love their brother and sister. 1 John 3:10 (NIV)

What are worthless and wicked people like? They are constant liars. Proverbs 6:12 (NLT)

With the tongue we praise our Lord and Father, and with it we curse human beings, who have been made in God’s likeness. James 3:9 (NIV)

As the Scriptures say, “I will destroy the wisdom of the wise and discard the intelligence of the intelligent.” 1 Corinthians 1:19 (NLT)

And I saw the dead, great and small, standing before the throne. And there were open books, and one of them was the Book of Life. And the dead were judged according to their deeds, as recorded in the books. Apocalypse 20:12 (BSB)

And if anyone was found whose name was not written in the Book of Life, he was thrown into the lake of fire. Apocalypse 20:15 (BSB)

#apocalypse #god #holy spirit #judgement #damnation

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da5vi · 1 year

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S Club 7 está de volta

Enquanto os jovens brasileiros lamentam o fim da primeira geração do Now United (eu sou time Noah go solo, e que bom que ele foi), nós que somos velhinhos temos muito o que celebrar: S Club 7 está de volta com sua formação original, num stunt do próprio Simon Fuller para celebrar 25 anos do grupo.

Jurava que o Simon tinha esquecido o grupo no churrasco, pois: a) o Seeing Double não está em nenhum streaming e b) um fã que vende bootlegs em alta qualidade dos episódios da série -- e essa é a única forma de ter ela em casa em qualidade profissional.

Mas todo o descaso foi maquiado com um vídeo introdutório elencando os feitos do grupo, a primeira empreitada de Fuller após levar um pé na bunda das Spice Girls, antes de uma extremamente bem-bolada press conference (desculpa língua portuguesa, esqueci como isso se chama no Brasil) em que todos os integrantes responderam perguntas... que pareciam ter saído de uma Capricho em 2002.

youtube

Eu queria saber de shows no Brasil, XIX Entertainment, e não que músicas atuais a galera do grupo curte ouvir (meu tweet teve três likes, pessoal). Mas Tina, saiba que também virei super fã de Wet Leg!

Citando um artigo extremamente trágico feito pela decadente Rolling Stone: o grupo se destacava entre os demais por ser misto. Além disso, o som polido e inspirado nos anos 50 e 60 de suas músicas traz um ar... extremamente feliz para seus trabalhos. Não tem como ouvir um CD do S Club 7 sem meter um sorriso, mesmo que por dentro, mesmo que esteja num dia ruim.

Afinal, não há festa como as do S Club!

Para a surpresa da já citada revista, os ingressos de todas as datas anunciadas esgotaram em questão de minutos -- por hora, o grupo irá se apresentar apenas no Reino Unido. E é uma pena que apesar de feitos tão “grandiosos”, o S Club 7 não tenha o mesmo grau de respeito que outros grandes grupos da época como o *NSYNC e BSB.

Infelizmente, acredito que o marketing voltado ao público mais jovem deve influenciar até hoje na percepção errônea de que o grupo é inferior. Mas muito pelo contrário -- os vocais são excelentes e harmonizam muito bem entre si, e a produção musical é simplesmente excelente. Concordo que os roteiros da série e do filme poderiam construir melhores imagens dos integrantes, mas o humor britânico é algo que não sou muito conhecedor e não vou questionar. Especialmente quando as loucuras são bem similares às de Spice World.

Seria o momento ideal para Simon abraçar esse pessoal e dar a eles uma chance de ter um retorno digno, com condições financeiras favoráveis que não os coloquem em situação de vulnerabilidade novamente e claro -- dando ao legado do grupo o tratamento que ele merece. Não faz sentido a quantidade de material tanto audiovisual como só em áudio não estar amplamente disponível em plataformas oficiais.

E se não vão colocar a turma para visitar outros países, que ao menos haja um registro oficial dessa turnê – os vídeos bootleg da Bring it All Back 2014 são simplesmente icônicos, e é uma pena que não exista nada proshot para nós, pobres não-europeus, aproveitarmos.

#s club 7 #música #simon fuller #s club

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zot3-flopped · 2 years

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Louis knew he wasn't going further to judges house. The reason he asked Harry for an autograph and picture as he said to Harry that Harry is going to be a star is because he knew he isn't moving on in the competition. Could be Simon wanted a 4 piece boyband and Nicole said it can be a 5 piece band like BSB. Then Olly Murs, Jay who were both hanging around there pulled the strings, got Louis in the fifth spot for his pretty looks, to be the clown / the oldest in the band. Liam was so so pissed

Louis' blue eyes and Bieber haircut won the day, plus he was the right height.

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aokijo · 2 years

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Second birthday celebration for Bapa Zufry @m.z.a.sahaf with Dr Nana @nana_yunitasari , Dr. Helena @dr.helenahurairah , Mr. Simon and we have the privilege to run into His Excellency Abel Guterres and Madame Ana Guterres, Ambassador of Timor-Leste, Brunei Food Awards @bruneifoodawards Chief Executive Officer, Tuan HAJI Nasir Dato Paduka Latif and spouse. Of course, last but not least our favorite food lover who is not in the picture, Mr Ridwan @ridwan_wh . #brunei #food #foodie #turkishfamily #lovefood #bsb #indonesianfood #bestrestaurantintown #timorleste Bapa Zufry kept saying, he is a blessed man to have such the honor to meet many lovely people. (at Pondok Sari Wangi Seafood Restaurant) https://www.instagram.com/p/CdspNt9hE09/?igshid=NGJjMDIxMWI=

#brunei #food #foodie #turkishfamily #lovefood #bsb #indonesianfood #bestrestaurantintown #timorleste

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dailytomlinson · 4 years

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A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.

It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”

“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.

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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

#rolling stone #ROLLING STONE SAID ROCK BAN SO ITS A ROCK B AND PERIDOT #220720 #10years1d #one direction

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pop-punklouis · 3 years

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i watched the documentary on Lou Pearlman, who was the Simon Cowell for both nsync and backstreet boys, and the whole thing just seemed so.. fake. like it just felt like they needed a bit more traction to boost Justin's career and made up a boyband for him, then created another band JUST to compete with them. BB in the interview felt a lot more passionate and dedicated towards the band idk

*nsync was predominantly created because lou pearlman wanted something new and a band to compete with BSB bc BSB began asking questions about their $$ and being payed fairly— pearlman literally put into contract that he was the sixth member of the group and was paid like he was actually in the band lmfao. but yeah BSB came first not the other way around.

so, on one hand, nsync were made purely out of capital greed. on the other hand, i don’t think the boys, themselves, were playing a part that wasn’t genuine. other than knowing someone who was at the hotel when *nsync called it quits and they saw the boys crying while justin went on with his day because he’s a literal snake rip

if you want to see the BSB documentary that goes into their whole origin and the trials and tribulations of a boyband— it’s here: Backstreet Boys: Show 'Em What You're Made Of

#grey

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boanerges20 · 2 months

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Simon Andrews † British Superbikes [BSB] // 2014

#motorcycle #simon andrews #†#motolegends #british superbikes #bsb #sport bike #racing #motorsports #ride hard or go home #built for speed #experience speed #2014 #please reblog #moto love #lifestyle

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larry-archives · 3 years

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Traducción de éste post. Créditos a @catchmewhispering-blog

Anónimo pregunta:

Cuando trato de explicarle Larry a un amigo, siempre terminan preguntándome: ''Bien, pero ¿por qué sus gerentes querrían ocultar su relación? ¿Son homofóbicos? '' Y nunca sé realmente qué responder. ¿Cuál sería tu respuesta? gracias xx

@catchmewhispering-blog responde:

Sí. La respuesta corta es que se supone que las fans femeninas necesitan sentirse como si los cantantes masculinos estuvieran "disponibles" para ellos hasta la fecha, de lo contrario mata la fantasía y no comprarán los discos de la cantante/banda si sienten que no tienen una oportunidad con ellos. Es por eso que las novias suelen estar escondidas (a menos que seas Louis Tomlinson lmao) y por qué los hombres gay están duramente cerrados.

Ha habido un montón de boybanders cerrados a lo largo de los años, echemos un vistazo:

Johnathan de New Kids On The Block (piensa en el BSB antes de BSB): "Yo era un niño pequeño en los New Kids y tenía CBS, mi mánager, toda esta gente diciéndome 'No puedes dejar que nadie sepa que eres gay. Si le haces saber al mundo que eres gay, vas a arruinar tu carrera, vas a arruinar la carrera de tu gerente, CBS va a perder dinero en ventas récord. Era sólo mucho sobre mis hombros cuando era un niño pequeño.

Stephen de Boyzone (que por desgracia ha fallecido) era gay. Louis Walsh (el Móager de Simon y el mánager de Boyzone) habla de cómo "si hubiera sabido de la sexualidad de Gately, habría pensado dos veces en incluirlo en la banda: "No era genial, entonces, tener un gay en la banda". Hay algunas cosas buenas en el artículo sobre cómo las fans femeninas se unieron detrás de él una vez que salió.

Alguien de una banda de chicos de los 90 que no tuvo éxito habla de cómo los ejecutivos de la discográfica "empezaron a estilizarme y controlar lo que dije e hice. Solían enseñarme a caminar "derecho" por los pasillos de una tienda de comestibles. Era un ambiente muy homofóbico, incluidos los miembros del grupo". ¿El razonamiento? "Fuimos comercializados hacia chicas adolescentes, así que no podía haber un miembro gay".

Lance Bass temía que su ser gay "arruinara completamente" NSYNC.

George Michael, que comenzó en una boy band, fue horriblemente detenido cuando fue arrestado por solicitar sexo en un baño público. Recuerdo que cuando sucedió, eran noticias globales y todo el mundo lo llamaba pervertido y repugnante. Explica aquí que tenía miedo de salir en la década de 1980 debido al estigma del SIDA.

Mark, miembro de la banda Westlife, tenía pensamientos suicidas como resultado de ser cerrado. También dijo que cree que las bandas de niños durarían más si se les permitiera tener más información. Tenía una novia falsa con la que salió en citas públicas. (Westlife también fue una de las creaciones de Simon Cowell).

Un boybander habla de sentirse asustado de que salir como bisexual llevaría a su banda a ser abandonada de su sello. Después de que la banda terminó y salió, "me cerraron muchas puertas en la cara. La gente me dijo que si sólo tú no fueras gay, lo lograrías. He tenido un productor que me dice que me voy al infierno por ser gay".

Duncan James de Blue es bisexual y Spice Girl Geri Halliwell accedió a ser su novia falsa antes de que él saliera: ""Ella era una buena barba". La gente decía que era un lothario y un hombre de damas, y luego que estaba viendo a Geri, pero no lo estaba. La verdad es que sólo era un amigo de esta gente. Pero me escondí detrás de los rumores de Geri , ella estaba bien con él - y ella demostró ser un gran disfraz ".

#closeting #ejemplos de closeting #homofobia #industry #traduccion #español

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stylesnews · 4 years

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“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk

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“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says

#rollingstone #july20 #10years1d

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hlupdate · 4 years

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The second takes place a few years later: Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Payne got up to use the bathroom, and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words …” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, “What if the rest of the song was just lyrics from other songs?”

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio, with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, ‘What if [the next line was] “More than a feeling”? Well, that would actually be tight!’”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live-show staple. It’s a midtempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock & roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne, and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was redefining the contours of fandom.

It’d been a decade since the heyday of ‘NSync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of the history of boy bands. He first witnessed their power back in the Eighties, when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted did it only once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatlesque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, poppy guitar songs. It would come out of left field and become something owned by the fans.”

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy-band code once more with songs that recalled BSB and ‘NSync, but replaced the dated synths and pianos with guitars.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

#harry styles #louis tomlinson #one direction #1d ten #220720

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popmusicu · 3 years

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Most important Boybands in history for me

Boy bands have been an important part of pop culture for several decades, each generation has had its Boyband, these vocal groups formed by teenage boys, who sing and dance (there are exceptions), wear matching clothes and drive the girls crazy.

That's why I present some of the most important Boybands in history (some of my favorites and others that even though I'm not a fan I know several songs):

The jackson 5: Considered by many the first Boyband in history, this band formed by the African-American brothers from Gary,Indiana: Jackie, Tito, Jermaine, Marlon and Michael (from oldest to youngest) started in the mid 60s, driven by their father Joseph Jackson, playing in small bars and events in their town, until they were discovered by Motown Records where they began a successful career with Berry Gordy (owner of Motown) and Diana Ross, reaching the top of the U.S. charts with singles like "I Want You Back", "ABC", "The Love You Save" and "I'll Be There", without a doubt they were one of the most influential groups of the time, years later when they went to Epic Records they changed their name to "The Jacksons".

Well, last but not least, in the late 70's Michael Jackson started his solo career, which would lead him to become the most important artist in history and be known as the King of Pop.

Without a doubt, the Jackson Five are one of my favorites and I think most people know at least one of their songs.

J5 medley: https://youtu.be/-4QWtflqqoU

New Kids on the block: This group formed in 1984 by the brothers Jonathan Knight and Jordan Knight, Joey McIntyre, Donnie Wahlberg and Danny Wood from Boston, were a symbol for the boy bands that later in the 90s would succeed them.

They released their first album in 1986, but they jumped to the fame in 1988 with their album "Hangin' Tough" and even more with the release of "Step by step" in 1990 with which they became number 1 in the United States, but it didn't pass much time until in 1994 with the exit of Jonathan Knight, the group ended up separating.

After years in 2008 they announced that the group reunited, which made new tours and later between 2010 and 2012 with the Backstreet Boy made the NKOTBSB tour where they shared the stage singing the hits of both Boy bands, today they continue making music.

The NKOTBSB tour with 2 or more generations!

The Right Stuff: https://www.youtube.com/watch?v=tbIEwIwYz-c

Backstreet boys: It is the most successful Boyband of all time (we must admit that everyone knows at least a couple of their songs), composed of AJ McLean, Howie Dorough, Brian Littrell, Nick Carter and Kevin Richardson, since 1993 when it was formed and after releasing its first album of the same name in 1996, has been a symbol of pop and one of the groups with more record sales in the history of music.

Regarding their music, they obtained their first success in Europe with "We've Got It Goin' On", and from there their popularity began to grow , until with "Quit Playing Games (With My Heart)" they managed to conquer the United States. By the end of the decade of the 90s they release what was their most successful album "Millenium" which debuted in the position n° 1 of Billboard 200 that includes their most successful song "I want it that way" (we all know it's song), then they continue with their album "Black and Blue", which they promoted by traveling the 5 continents in 100 hours, with which they obtained a Guinness record.

After several agitated years, the band decides to take a rest in 2002, although after 3 years they return with a new sound and new tour, but in 2006 Kevin decides to leave the band, reason why Nick, AJ, Brian and Howie decide to continue them 4 with BSB, after several years and new albums, the project NKOTBSB arises where they unite to the New Kids ON The Block to make a tour, in which they announce the return of Kevin to the quintet. Currently, they are still very active after releasing their album "DNA" , whose world tour was interrupted by the covid-19.

My favorite boyband by far, their way of being, their messages in their songs, their iconic choreographies and the power to deal with difficult situations that have been presented to them make me admire them and love each of their songs.

All I have to give: https://www.youtube.com/watch?v=pj6FCKm8dhM

N´ Sync: Considered in the 90s the rivals of the Backstreet Boys, this band composed by Chris Kirkpatrick, Joey Fatone, Lance Bass, JC Chasez and Justin Timberlake who until today continues with his successful solo career; it was created in 1995 by Lou Pearlman, had great success at the end of the 90s until his separation in 2002.

In addition to their great successes with songs like "Bye bye bye", "I want you back" or "Pop", they had the opportunity to work with important music celebrities like MJ, Aerosmith, Celine Dion, Elthon John among others, there is even a chapter of The Simpsons dedicated to them. One of the strongest features of N' Sync was the dance and its complex choreography.

For me, Justin was always the most outstanding of the group, that's why he continues to be an important artist to this day.

Bye bye bye: https://www.youtube.com/watch?v=Eo-KmOd3i7s

One Direction: British Boyband was born in 2010 after Harry Styles, Liam Payne, Zayn Malik, Niall Horan and Louis Tomlinson, participated in Factor X, where Simon Cowell joined them and created one of the most successful bands of the decade of 2010, debuted with "What Makes You Beautiful" and since then were a phenomenon, filled stadiums, world tours, etc. In 2013 they released "Midnight Memories", which was the best selling album of that year, which contained songs like "Best Song Ever", "Story of My Life" which are some of the most heard songs of the band.

until 2015 when Zayn announced that he was leaving the band, so 1D was left with only 4 members, who in 2016 each began their solo projects, leaving the group on pause until today.

What this band was missing to call my attention, I think was that they didn't dance!

Best Song Ever: https://www.youtube.com/watch?v=o_v9MY_FMcw

BTS: Although this band was formed in 2010 in South Korea and their debut was in 2013 is not until 2017 with the rise of K-pop that have become the most important group of this genre worldwide, formed by Jin, Suga, J-Hope, RM, Jimin, V and Jungkook have remained within the Billboard 200 for a long time with different songs like "DNA" or his EP "Love Yourself: Her", in addition to receiving several awards.

Even Time magazine recognized them as "Next Generation Leaders ", and they were included in the list of the most influential people in the world in 2019.

While this genre of pop is not my favorite, one of my favorite songs is Dynamite at first I was struck by its rhythm, but when I saw the video and all the references to MJ I loved a more.

Dynamite: https://www.youtube.com/watch?v=gdZLi9oWNZg

Michelle Silva H.

#All time best #list #I love this #submission

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