#i listen to the demo recordings of the more than you deserve musical more than i should | Explore Tumblr Posts and Blogs

joons · 8 months

Note

Have Brian Wilson and Elvis every been connected in any way? Like, did they ever meet, listen to each other's music, etc.? If not, what do you think would have happened if they had?

Brian adored Elvis, as most teenagers did in the early '50s and '60s. Brian covered "Blue Christmas" in 1964 and often cited Elvis as one of his musical inspirations. Brian loved him for his vocal abilities, not just his status as a rock-n-roller: "I liked Elvis Presley’s songs," he said. "... I thought Elvis was a very underrated singer, he was a very good singer. He was more of a star. He was known more for his fame than his voice. I think he deserved more credit for his voice."

Brian's affinity for Elvis is evident in his stage setup for his Smile concerts in 2004, which was the first time his incomplete masterpiece (originally set for release in 1967) was performed in its entirety for the public. Brian, like Elvis, has dealt with extreme stage fright for most of his career, so for inspiration, he includes notes from his band and an image of Elvis on his keyboard.

According to band members Mike, Al, and Bruce, Elvis did know the Beach Boys and got to meet some of them in 1968 when he was preparing to resume live appearances and recording tracks for the Comeback Special.

AL JARDINE: Bruce (Johnston) and I met Elvis in the late '60s. He was working in the studio across the hall from us at Western. Bruce and I went over and introduced ourselves and he was very delighted to see us. He was trim and great looking, just like his album covers. He hadn’t gone back out on the road yet. We encouraged him to get back to work and he took us up on it. MIKE LOVE: He was in the big room at Western and had his cape on at the time (laughs). He was preparing to go back out on tour and he was asking us, “Well, what’s it like?” He was a really kind gentleman. He couldn’t have been nicer. He definitely knew who The Beach Boys were. You couldn’t not be aware of who The Beach Boys were in the '60s.

Brian was not with them at the time and never got to see Elvis perform live, but their careers continued to connect in interesting ways. Jerry Schilling, a member of the Memphis Mafia and good friend of Elvis, departed Elvis' group in 1976 to begin managing the Beach Boys full time. He became good friends with the band, especially Carl Wilson, the youngest Wilson brother. "After Elvis, Carl was my closest friend," Jerry said. After Elvis' death in 1977, Carl offered to visit with Vernon Presley, Elvis' dad, to spend time with him and get his mind off his grief.

Jerry Schilling was also married to Myrna Smith, a member of the Sweet Inspirations, a gospel group that provided backing vocals for all of Elvis' stage shows. Myrna wrote the lyrics for many of Carl's solo projects, including a tribute song for Elvis that was being considered as the theme song for the 1981 documentary This Is Elvis. Carl wrote the music, played guitar and sang backing vocals, and Myrna wrote the lyrics and sang. The song was abandoned, but the demo tapes were recovered not too long ago.

youtube

JERRY SCHILLING: The song ... tells who Elvis was … the lyrics and the music. It’s simple, it’s sweet, and it’s deep. It’s emotional to talk about it, because all three of these people – who were so close to me in my life – are all gone. But boy, this is a great piece of all of their music left behind honoring Elvis, and done by Carl and Myrna.

Elvis and Brian also both got to work closely with guitarist James Burton. Burton was much more of a long-term staple for Elvis, but he played in sessions for Smile and remembered how Brian would invite musicians to his home and make them spend the night so they could play at all hours.

Now, we get to the best part: Brian and Elvis did meet once, and it's one of my favorite stories of all time. Here is Brian telling the story on The Tonight Show.

youtube

It's been told a few different ways (Brian, bless him, is sort of an unreliable narrator, so bear this in mind), but every version is just incredible.

JAMES BURTON: I walked into the big studio, and Brian Wilson was in there mixing a record that I played on. And he said, "Whatcha doing here, man?" [I said,] "I’m in the next room with Elvis rehearsing." He said, "Oh! Please, please take me to meet Elvis." I took him in and he walked up to Elvis and was just looking at him. And Elvis stuck his hand out to shake hands and he couldn’t move. Daily Express/Elvis Birthday Celebration at Graceland, 2020

•••

JERRY SCHILLING: We were at a rehearsal session at RCA Studios in Hollywood, and Elvis always prided himself on our security. There was security at the studio as well. This big, overweight, bearded guy came into the studio and went right up to Elvis and went, "Hi Elvis, I'm Brian." And Elvis was very upset with us thinking, "How did this guy get in here and who is he?" So Brian said, "I'm recording next door. Would you come over and listen?" And Elvis looked at us; it's almost in spite of us since this guy had gotten through. He said, "Yeah, I'll go over." So we went over, and Terry Melcher, Doris Day's son, was producing. Terry played a track for Elvis, and Brian said, "Do you think we have anything?" And Elvis said, "No." And we went back to our studio. Later, the security guys told us it was Brian Wilson of The Beach Boys. elvis.com.au

•••

BRIAN WILSON: I was recording with Terry Melcher at RCA Victor Records in 1975. We were working on the song “Why Do Fools Fall in Love?” Terry said, “Hey, Elvis is in the next studio recording.” That was a big surprise to hear he was in the studio next to me. So I walked into the studio and said, “Hi, I’m Brian Wilson,” and he goes, “Hello, Duke.” I don’t know why he called me Duke. I said, “Would you like to hear what I’m doing in the studio?” and he said yes. So we walked over to my studio and listened to what I was doing and then said he had to leave. It was a thrill to meet him and he was real happy to meet me. Rock Cellar, 2013

•••

BRIAN WILSON: Yeah, around 1969 we were recording in the same place as Elvis, and I asked him if he’d come across the way to our studio. He shook my hand and goes, “I’ve heard a lot about you. How you doin’, Duke?” He called me “Duke,” don’t ask me why. (laughs) So I figured okay, Elvis is like me, a joker, so I’m going to play a little joke on him. I knew he was a black belt, so I faked a karate chop and a kick at him. He blocked them both easily, and I started cracking up, to show him I was kidding, but he didn’t think it was funny and said, “Hey, Duke, don’t do that.” I said, “Hey man, I’m just kidding around.” So we talked about music for a few minutes, about “Good Vibrations,” and then the conversation sort of died down, so, to liven things up, I threw another karate chop at him. He backed up in his chair, says, “I’m a little worried about you, Duke,” and then signaled to his boys that they were leaving. I never saw him again. I regret that. He was quite an artist. Interview with Alex Simon, 2012

•••

What has been your most embarrassing moment? BRIAN WILSON: When I karate chopped Elvis Presley. He called me "Duke" - I was so nervous I acted stupid. It was in 1975 at RCA Victor Studios. After I did that, he said, "I gotta get outta here." The Guardian, 2004

BLESS HIS HEART.

This was definitely in 1975, not 1969, while Elvis was working on "Pieces of My Life" from the Today album. Around this time, Brian was mostly just fussing around in the studio, trying to come up with the Beach Boys' next album and attempting to produce small songs for other acts. Brian says he met Elvis while recording "Why Do Fools Fall in Love," which most likely means not his 1964 version but the version he was producing for California Music, a supergroup involving Terry Melcher, Bruce Johnston, Dean Torrence, and others.

This is the song he played for Elvis, most likely.

youtube

BRIAN: Do you think we have anything? ELVIS: No.

I agree with E, I think; you had to have the biggest brain imaginable to understand Brian's sound in the mid-'70s. The songs he'd come up with over the next two years are awesome, but weird, and you can tell this is an early effort in a period where he wasn't really trying very hard to complete anything. Actually laughing so hard at Elvis listening to this and just 😬

I don't think Elvis was actually mad or anything, there are a thousand stories of him and his bodyguards reacting quickly to any sudden movement and then relaxing once they realized it was just an overeager fan, and Brian is the biggest wild card, lmao. I'm sure if Elvis had no idea who he was at the time or how he got in, he was probably a bit unsettled but didn't want to be rude. Also very likely that Elvis was bored out of his mind recording in this time period and just wanted an excuse to procrastinate.

Getting back to the other ways they're connected, I love what Brian said, "Elvis is like me, a joker." That's so true. They are both always the Weirdest Person in the Room, which you can SEE in this brief meeting. It kind of makes me think they wouldn't get each other unless circumstances were ideal to really let loose. They both had bonkers, deadpan humor that would go over most people's heads, and they both loved playing pranks on people. I think they would enjoy talking about music and spirituality as well, though Brian would have to keep it to non-drug-related revelations. They are also both girl dads, and it makes me happy just to imagine Lisa, Carnie, and Wendy all playing together. Carnie and Lisa were almost the exact same age, born just two months apart. 🥺

And, to wrap up this incredibly pointless deep dive, what I would wish most is that them knowing each other would have sped up their mutual healing. Brian to me represents the impossible, one-in-a-million shot where the cycle of exploitation that befalls sensitive, genius people in the industry breaks, and someone who was taken advantage of regains control of their life and makes their art on their own terms. Like Elvis, Brian also dealt with enormous creative pressure at a young age, crippling stage fright, a sense of alienation from his peers, a longing to go beyond formulaic music and tap into deeper emotions, binge eating and general disregard for his own health, problems with overmedication, and eventually an abusive manager who controlled all aspects of his personal life. And just ... somehow, he got out of all that and got another chance. I dearly wish Elvis had had more time. Both their stories show how precious life is and how important it is that our loved ones advocate for us, even when we're unable or unready to advocate for ourselves. And to keep responding to the joy and humor and heart in ordinary experiences and people, even when life feels hard.

And they're both so funny, pleeeeeease.

#elvis presley #brian wilson #the beach boys #(brain damage)#(it's my party and i get to pick the breakdown)

24 notes · View notes

shefanispeculator · 7 months

Text

For every new star on the recording scene, there is at least one unheralded industry drone without whom that star might never have shone. In the case of Blake Shelton, who is about to receive his well-deserved Hollywood Walk of Fame star after more than two decades as one of country music’s best, there are probably more like a dozen heroes who made Blake’s incredible career possible.

One of those heroes is your humble Nashville correspondent, me. No, that’s the truth. Once or twice in your life the impossible hits you between the eyes and you need to be prepared if you want to turn it into pure sunshine before the inevitable eclipse drifts in.

One day in 1995 or 1996 I got a call from Jim Sharpe, then publisher of American Songwriter magazine. He had found this big kid from Oklahoma, best singer he’d ever heard, would I like to come by the office to hear him sing? “Why?” I asked. You see, I was trying to dodge what the gods were hurling at me. I was done with the music business. I would just be a waste of this kid’s time.

But a week or two later found me in Sharpe’s office shaking hands with this kid, six-foot-four, great looking, with a big, black cowboy hat, big black Takamine guitar, a voice so huge it shook the walls of Sharpe’s office, and a laugh to match.

I was hooked, and soon we were writing songs together every Tuesday.

But nothing further happened until a couple from California hired me to run their music publishing company. We signed Shelton to a publishing deal. And then nothing more happened. I learned that he’d already been turned down by labels all over Music Row, talent be damned.

Now comes the big twist in the story.

I’m not the hero, after all. The hero is a guy I’m about to call. Bobby Braddock has written or co-written many of country music’s biggest hits, including “He Stopped Loving Her Today,” “I Wanna Talk About Me,” “People Are Crazy,” “Golden Ring,” “Time Marches On” and “D-I-V-O-R-C-E.” He also produces terrific demos and he’s always wanted to produce records.

The call goes like this:

“Hello, Homer (his phone name is Homer, and mine is Jethro). I’ve got something I want you to hear.” I’m holding an old microcassette tape recorder in my right hand, and a telephone receiver in my left. This phone call is high-tech. I push the recorder flush against my telephone mouthpiece and press the start button. Homer listens to Blake sing for a little more than two minutes. When the tape has finished playing, Bobby speaks.

“The song is OK, but who’s that singer?”

“He’s 20 years old and we signed him a couple of months ago,” I reply.

“He sounds like a young Hank Jr. Can I meet him?”

The three of us met at Braddock’s house and Braddock and Shelton hit it off immediately. Braddock agreed to produce Shelton, and Braddock persuaded his publishing company, Sony/ATV Music, to pay for the session. That’s a big deal, to get a producer and publisher to put time and money into a session. But the hard part is not cutting the session — it’s getting a record company to love the session and sign the artist.

Armed with the fresh recording, Braddock hit the pavement. One label at a time. Fortunately, in 1998, there were still a lot of record labels left in Nashville.

“I took Blake’s CD all over town,” says Braddock. “RCA showed some interest, but they passed. Arista Records showed enough interest to request a showcase, and we gave it to them, then they passed. I was running out of record labels. The last label I went to was Giant Records, an affiliate of Warner Bros. Doug Johnson listened hard. And he said yes.”

Now life got tougher. Braddock produced an album by Shelton. Virtually everybody at the label loved it. Braddock, Shelton and a whole lot of other people waited for the album to be released. And they waited. People wondered why they waited.

Then Debbie Zavitson, a stalwart of Giant Records’ A&R department, received a CD from publisher Jana Talbot of a special song called “Austin,” written by David Kent and Kirsti Manna. Braddock, Shelton and a handful of great session players went to Sound Stage recording studio on Music Circle South and cut “Austin” and two other songs. Braddock recalls that the label had picked another song for the first single, but he had sent copies of the session to several friends and they felt that “Austin” was the hit. He took this new information from “the people,” and, he says, convinced the label to go with “Austin” instead. Then they waited, and while they waited, rumors circulated that Giant Records might soon be closing down.

“It took Giant three years to put out Blake’s record,” says Braddock, his brow furrowed in puzzlement over the memory. “And it never would have gotten out at all, if it hadn’t been for Fritz Kuhlman!”

Braddock would later refer to Kuhlman as “the promotion man who committed mutiny.” Kuhlman had heard the rumors about Giant, and while he was not a powerful executive at the label, he did have the ability to send out copies of “Austin” to country radio stations all over the country. And that’s just what he did, because he believed in “Austin.”

Stations began to play “Austin,” but Giant closed its doors anyway. By this time it didn’t matter. “Austin” was hot with or without a label. Giant’s parent company, Warner Bros., picked up the record and ran with it, and thanks to Kuhlman, “Austin” became a multi-week No. 1 country smash.

Country music had a brand new star. Over the next two decades, Shelton would pump out hit after hit, and become a national TV icon on the worldwide hit show “The Voice,” as well as a member of the venerable Grand Ole Opry. I can’t help but think of the many heroes it took to make it happen for Blake Shelton.

Of course there’s Shelton, with all that talent, heart and personality. Then there’s Bobby Braddock, one of Nashville’s greatest songwriters, listening to hundreds of other people’s songs in search of that special one for Shelton. And Braddock in the studio, hour after hour, with some of the world’s best studio musicians, background singers and studio engineers, pursuing the perfect record. Then cruising from label to label, determined to find a yes among all the inevitable no answers. And then there’s me, playing a cassette over the phone to my friend Braddock, who I thought was a genius in a recording studio.

And gutsy Kuhlman, on his own, mailing out CDs on a wing and a prayer.

Lots of other heroes, too, braving the stiff competition: promoters, publicists, A&R people, bookers, roadies, managers — and nobody outside the business knows their names. It took a lot of skill and experience to make a music industry in those days, and I like to think it still does.

17 notes · View notes

camcorderrevival · 1 year

Note

FOR 🎸THE BIG MUSIC ASK GAME🎸

bands/artists: mcr, p!atd, f+tm

albums: take a vacation!, high as hope, three cheers for sweet revenge

🎸 HI JO!!!!!!! THANK YOU FOR THE ASK!!!!! 🎸

mcr: do I know them already?: yes | no

favourite song: zero percent, heaven help us, bury me in black

least favourite song: SING is.......something, the bridge fucks SO hard though so i forgive it <3

favourite album: I Brought You My Bullets, You Brought Me Your Love <3 she's my babygirl <3

least favourite album: I don't have one, I love them all dearly

song that got me into them: boy division, my ex-girlfriend showed me it

seen live?: YES!!!!! in Cardiff last year!!!

three cheers for sweet revenge: opinion on cover design: LOVE LOVE LOVE!!! LOVE THE DEMOLITION LOVERS!!!! <3 <3 <3

favourite song: give 'em hell kid, twas my most listened to track on spotify last year

least favourite song: i don't have a song that i actively dislike but i listen to helena the least of them all so...

underrated track: interlude, i am a sucker for interludes and introductions and intermissions!!!!

overrated track: overrated suggests i don't like it, which is horribly untrue, but I'm Not Okay....i guess?????

rate: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10

p!atd do I know them already?: yes | no

favourite song: behind the sea, nails for breakfast / tacks for snacks, oh glory (demo), (and the Karma Police cover)

least favourite song: the obvious answer is High Hopes. bad song. public execution.

favourite album: i sort of flip between A Fever You Can't Sweat Out, Pretty.Odd and Vices And Virtues; at the moment it's Fever (<< watched Live In Denver last night so it's the only thing that matters to me)

least favourite album: Pray for the Wicked, predictably. the lastest album (viva las vengeance) is borderline unlistenable to me also, but at least it's way more interesting than pftw, which mainly just sounds like music made for shopping centres.

(edit: i have a sort of begrudging appreciation for pftw and vlv for how they further panic!’s tragic narrative)(like, they’re bad but also i am having a great time thinking about Greek Tragedy! At The Disco)

song that got me into them: I Write Sins Not Tragedies

seen live?: also Yes, in 2019!! it was a pretty good show!!

take a vacation! opinion on cover design: THIS cover design???

LOVE!!! LOVE LOVE LOVE!!!!

the deluxe edition???

i like less, but i don't dislike it.

favourite song: it changes sporadically but The Other Girl or Defiance right now

least favourite song: NO LEAST FAVOURITE SONG!!! I CARE ABOUT THEM ALL TOO MUCH

underrated track: ALL OF THEM!!!! THE WHOLE RECORD DESERVES MORE LOVE!!!!!

overrated track: I'll assign an overrated track once the album gets ANY of the recognition it deserves <3

rate: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 (she's my girlfriend, my wife, my closest confidant) (my sweet cheese, my rotten soldier, my good time boy)

f+tm do I know them already?: yes | no

favourite song: ship to wreck, what the water gave me, blinding (also, the cover of Search and Destroy)

least favourite song: i'm not a huge fan of My Love, it's not a bad song by any measure, it's just not my style i guess

favourite album: how big, how blue, how beautiful

least favourite album: don't have one <3

song that got me into them: kiss with a fist

seen live?: no, but i really really hope i will soon

high as hope: opinion on cover design: it's cool but looking through other shots from the cover shoot makes me wish that shots like this

were used

favourite song: june (THOSE HEAVY DAYS IN JUNE / WHEN LOVE BECAME AN ACT OF DEFIANCE)

least favourite song: i don't listen to this album a lot so i don't really have one

underrated/overrated track: i have practically no perception of how other people view this album so i Would Not know <3 love and light <3

rate: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 (i feel so mean giving this 7 when the others got 10 but i don't listen to this album very often at all, which is something i need to work on)

(BIG MUSIC ASK GAME)

#this is so long <3 #ask games

1 note · View note

paulisded · 2 years

Text

The Ledge #518: Record Store Day

I have a few friends who are no fans of Record Store Day, but I love it. Yes, everyday is Record Store Day for me, but it is one of the few days of the year that I'm a social butterfly. I absolutely love the bonding of music geeks in the lines outside stores, and over the years I've actually made some friendships out of these same people who brave the elements on this day. We actually kind of look out for each other. If one of us is looking for something quite rare, it's not unusual for another one of us to grab it for that person. I had that happen just this last week when I arrived a few minutes later than usual, but really needed to get a copy of a certain release.

For me, this year's version of the holiday may have been the best ever. I've never had a list so long of titles that I "needed". Plus, my name is on one of them (the Jay Bennett two-record set that included Gorman Bechard's "Where Is Jay Bennett" on DVD). Besides the obligatory Replacements live album, guitarist Bob Stinson saw the release of a record he recorded with the Bleeding Hearts shortly before his death. The late Kim Shattuck of The Muffs saw a collection of demos. Lou Reed's first solo studio session hit the shelves. There was another great compilation of rare punk tracks in the Soul Jazz series "Punk 45".

Of course, there was also the usual pile of live releases this year, including sets by Stiff Little Fingers, Reigning Sound, Pixies, Nick Cave and the Bad Seeds, Roky Erickson, and so many more. Ramones albums that have not been available on vinyl for 20 years were collected in a relatively cheap box set. The list goes on and on, and tonight's episode samples a wide variety of these records.

I would love it if every listener bought at least one record I played on either of these shows. These great artists deserve to be compensated for their hard work, and every purchase surely helps not only pay their bills but fund their next set of wonderful songs. And if you buy these records directly from the artist or label, please let them know you heard these tunes on The Ledge! Let them know who is giving them promotion! You can find this show at almost any podcast site, including iTunes and Stitcher...or

CLICK HERE TO DOWNLOAD THE SHOW!

1. Jay Bennett, Beer

2. Golden Smog, Shooting Star

3. Golden Smog, Cowboy Song

4. Nick Lowe, Heart of the City (Live)

5. Nick Lowe, They Called It Rock

6. Lou Reed, Lisa Says (Demo)

7. Lou Reed, Ocean (Demo - Takes 1 & 2)

8. Mary Lou Lord, The Inhibition Twist

9. Mary Lou Lord, Metal Firecracker

10. The Muffs, And I Go Pow

11. The Muffs, Freak Out

12. The Muffs, Really Really Happy

13. The Muffs, The Story Of Me

14. Superchunk, Mower

15. Superchunk, I'll Be Your Sister

16. Wipers, Over The Edge

17. Wipers, Romeo (Alternate Version)

18. The Ramones, Chop Suey (Alternate Version)

19. The Ramones, Street Fighting Man

20. Reigning Sound, She's Bored With You (Live)

21. The Gun Club, Sex Beat

22. Bleeding Hearts, Riches To Rags

23. Bleeding Hearts, Imagination

24. Bleeding Hearts, Gotta Find A Way

25. Bleeding Hearts, Guilty

26. Stormtrooper, I'm A Mess

27. Johnny Moped, No One

28. The Reducers, Things Go Wrong

29. Dansette Damage, N.M.E.

30. Stiff Little Fingers, Root, Radicals, Rockers & Reggae

31. Roky Erickson & The Explosives, Starry Eyes

0 notes

putschki1969 · 2 years

Photo

FictionJunction Station Express Railway Newsletter Vol.06 Scans

Here are my HQ scans of the latest FJS fan club magazine.

Vol.02 | Vol. 03 | Vol.04 | Vol.05

❗This is Fan Club EXCLUSIVE content❗ ❗PERSONAL USE ONLY❗ Do ❗NOT SHARE❗ on other sites

Kajiura Yuki x KEIKO SPECIAL TALK English Translation

Note: This talk covers their entire history together so I thought it would be nice to provide a translation. They also mention Wakana a couple of times which is always a treat. It never fails to warm my heart to see them refer to Wakana as Wa-chan/WAKANA-chan. On a side note, I love how YK speaks so highly of Keiko, she definitely deserves all the praise! Without further ado, please enjoy!

As a member of FictionJunction and Kalafina, KEIKO has been singing Kajiura’s songs for a very long time, now they have finally come together for a dialogue. This talk will cover a long time span, starting from their first meeting up until this year’s Yuki Kajiura LIVE vol.#16. In addition to looking back on all lives until vol.#16, they will also discuss KEIKO's 2nd solo album "dew" which was released on December 8th.

ー I think the first time KEIKO sang one of Kajiura-san's songs was when she did the insert song "Kaze no Machi he" for the anime "Tsubasa Chronicle". When exactly did you two first meet?

Kajiura: Yes, our first meeting was around the time of "Kaze no Machi he" [※ ~2005]. That was an insert song, the character was singing it during a scene so I had to find a singer with a voice that would match the image of the character. I was looking for something husky, a deep alto but at that time, I knew no one that would fit this image. That’s when Mori-san introduced me to KEIKO-chan [※ Both Yuki and Kalafina used to be managed by Yasunori Mori under Space Craft]. KEIKO: At that time I had been doing various things on my own because I wanted to sing but really, I had zero experience so when I first heard about the opportunity to sing "Kaze no Machi he" I was honestly a little dumbfounded *laughs*. Kajiura: That's right *laughs*. That song was completely different from anything that KEIKO-chan was doing at that time as a member of Itokubo. KEIKO: Indeed! At that time, I was singing only punk and rock so it was a very fresh experience.

ー Was "Kaze no Machi he" a big challenge?

KEIKO: I didn't even have the awareness to consider it as a challenge, I was just super nervous. This sort of music was unknown to me so I had no idea how to sing it.

ー Do you remember the recording process?

KEIKO: I still remember that I wrongly assumed I would have to sing the chorus part with the coined words. However, I didn't get the score for the coined words so I desperately listened to the demo tape again and again, trying to make out the words and writing them down in katakana so I could bring them with me to the studio *laughs*. Then when I arrived at the studio YURIKO KAIDA-san was there and I suddenly remembered that she would be in charge of the chorus. I was so relieved! Kajiura: Oh really?? I'm so sorry about that misunderstanding! *laughs*

ー How was the recording itself, with a song that you were not familiar with?

Kajiura: It didn’t take too long, did it? KEIKO: On the contrary, there was so little that I could actually do back then. I remember Kajiura-san guiding me through a lot of the process and suggested to sing “in a natural manner” Kajiura: The song was set to be sung in a small venue so it was meant to be rather quiet and intimate. Nothing too exciting or cheerful, it was perfect for the image. I still really love that song.

ー The song was pretty mature for KEIKO’s age at that time, wasn’t it?

KEIKO: It's true that the character’s age was much higher than my own but I didn't even think about it *laughs*. Perhaps because of my youth, I was more focused on listening and singing rather than thinking about stuff. To be honest, I feel like at that time I couldn't afford to think about anything, I just did it.

ー Kalafina came a few years later. How was it when there was first talk about the Kalafina project?

KEIKO: Once again I was rather taken aback *laughs*. Mori-san told me about the audition for "The Garden of Sinners", the theme songs were supposed to be sung by different vocalists. The thing is, there was this anime but I didn’t think about whether I liked it or not, I just decided to prepare for the audition. There were about 3 assigned songs for the audition but the only one I liked in the selection was “Hoseki” so I thought that going with that would be my best option. I still remember practicing and going to the audition [※ Fun fact: Hikaru also auditioned with “Hoseki”]. Kajiura: Kalafina was off to a bumpy start, wasn't it? I didn’t show my face to anyone at that time and we really didn’t have many chances to meet each other, none of the members were supposed to be permanent so it didn’t make any sense to meet up. Everything started from the premise that the project would inevitably end as soon as "The Garden of Sinners" series was finished so I don't think anyone involved experienced it as a pleasant situation, it felt wrong to think about it as a proper debut. I felt the same way, I didn't know how long I would be allowed to do it, I wanted to continue working with these talented vocalists but if I had been told to continue with someone else I would have had no choice but to do so. That's why I couldn't make any promises for the future to the three of them, even though we recorded and released CDs, it was honestly so intangible and didn’t feel like an accomplishment at all, I think everyone was a bit annoyed. It wasn’t until the release of their 1st album and the single “Lacrimosa” when it was officially decided to have the three of them as permanent members of the group. KEIKO: Indeed, until then everything felt tenuous at best. Kajiura: Truth is, the original plan was to have seven vocalists for the seven movies of "The Garden of Sinners," they wanted seven newcomers to do it. For me personally it was more important to have good singers rather than a bunch of newcomers so that’s what I tried to tell the people in charge. But it was all pretty vague for a long time so it must have been extremely tough for the three of them, not knowing what would come next.

ー So the situation changed after that 1st album was released？

Kajiura: I mean, from the 2nd single onwards, all their names and faces were revealed but no one really knew the reason why that wasn’t the case for the first song *laughs* Perhaps it wasn’t until Kalafina started their live activities that they finally felt like a proper unit. Before that we would only meet briefly during recordings and we didn’t talk about anything. KEIKO: At the beginning it definitely felt like we were all on our own vs. Kajiura. There was no sense of togetherness.

ー When Kalafina started, did you have any issues with the extensive chorus work?

KEIKO: …Not particularly？ Kajiura: KEIKO-chan was participating in the Yuki Kajiura LIVES while she started her Kalafina activities. I think she felt like she was ready to record all these Kalafina songs because her skills had already improved considerably. KEIKO: It’s not like I didn’t worry about it but yeah, it was something along those lines. I mean, we even went to New York for some music production and I was singing together with experienced vocalists such as KAORI and Yuri-chan (YURIKO KAIDA), so it felt like a different dimension. I thought it was amazing to stand on the same stage as the person who sang the chorus of “Kaze no Machi he”, it truly was a great experience. Kajiura: I think your first experience with harmonising was when you performed as member of FictionJunction, right? KEIKO: The singing parts in the Yuki Kajura LIVES were very difficult. In the early days, most Kalafina songs had a pattern of “main vocal vs. other melody” but the FictionJunction songs had many difficult phrases rather than just plain harmonies. In the beginning I really couldn’t do a lot so I wasn’t of much use but slowly I saw my name appearing more and more frequently on the music sheets so I wonder if that might have been a reflection of my increasing skills.

ー Do you have any particular memories from the early days？

KEIKO: I remember every single live but I clearly recall the time when we had a Kalafina and a FJ performance two days in a row at JCB HALL [※ Kajiura Produce 3rd Anniversary LIVE TOUR]. Wa-chan and I were participating in both so this tour really improved our mental strength and memory. I feel like it was even harder than Kalafina's Nippon Budokan 2DAY LIVE which pretty much had two completely different set lists. Kajiura: Ah yes, it was at the time of Yuki Kajiura LIVE vol.#6 in 2010. We would have a 2DAY event for every venue, one day was dedicated to Kalafina, and the other day was for a YK LIVE, KEIKO-chan and WAKANA-chan were taking part in every single one of those lives ... I think it must have been hell for the two of you *laughs*. KEIKO: I had no idea what to expect back then so I had no way of properly preparing. Then again, nothing could have prepared me for it. All I knew was that I had to get through it! My focus and concentration were tremendous. Looking back, I am glad that we did those lives. We also did the Kalafina Asia Tour that year, it felt natural to sing every day. If it hadn’t been for these tours, I don’t think I would have gotten used to the regular live performances so quickly. They became a matter of course for me and that’s a good thing. *laughs*

ーThis became your foundation?

Kajiura: I felt like KEIKO-chan was worrying a lot during the first Yuki Kajiura LIVE, she didn’t quite know what she was doing. But then all of a sudden she became an incredibly reliable vocalist *laughs*. At around vol.#3 it was clear that KEIKO-chan had improved a lot and grown immensely as a singer so I was able to 100% rely on her *laughs* KEIKO: Yeah, I guess *laughs* Kajiura: Nowadays, it feels like she is truly the backbone of FictionJunction. I appreciate the sense of stability that KEIKO-chan is able to provide.

ー What happened to KEIKO in that short period of time after VOL＃1 to inspire that change？

Kajiura: KEIKO-chan really hates to lose, she is very diligent. She has a lot of respect for the work she does and is not willing to waste any time so I think that’s what enabled her to improve and grow in such a short amount of time. KEIKO: I was in a hurry to catch up *laughs* Because everyone around me had so much more experience than me. I think it was a good environment for growth. Kajiura: Maybe it was KEIKO-chan's growth that eventually changed the environment for the better. If you do your best like that, everyone, including myself, will be inspired to work just as hard. The sense of stability of the Yuki Kajiura LIVE regular team was truly tremendous back then, and I felt like this year’s vol.#16 was also amazing. I think KEIKO-chan was the major driving force to get us to this point so I am very grateful. KEIKO: I really enjoyed this live! Kajiura: It was really wonderful and your singing was so amazing that no praise would ever do it justice. I kept thinking that your vocals were astounding so I couldn’t help but tell you again and again. KEIKO: On this tour, we had a lot of discussions with everyone during the vocal rehearsals. Kajiura: Oh really? I want to know what you talked about *laughs*. I am always wondering what you are talking about. KEIKO: First of all, we each listen to the original version of the songs and practice by ourselves regarding various aspects, then the four of us come together for a group rehearsal. This time there were many Japanese songs which we hadn’t performed before, and moreover, they we were singing a lot of original songs. We had no real reference so our individual preparations were quite different depending on the song, we certainly had to discuss a lot. "Which is the correct way to sing this?" For some song it was relatively easy to find a solution but we struggled to find a good flow in "Beginning" and "Kioku no Mori" which were at the beginning of the live and were meant to serve as a sort of introduction for each voice. Kajiura-san had assigned certain parts to all of us so working on connecting the vocals proved to be quite difficult. Instead of creating harmonies like in "Distance", we are going from one vocal to the next to highlight them, just to eventually come together in “Kioku no Mori”. It took us a long time and we tried over and over again until I finally felt like I was getting more comfortable with "Kioku no Mori". Kajiura: About half of the set list was made up of FictionJunction songs but we don’t have WAKANA-chan with us anymore, instead we have Joelle-san. However, Joelle-san is not there to simply sing WAKANA-chan’s parts, her parts have been reassigned to the other members as well. The same is true for Kalafina's songs, truth is, with the exception of Aimer-san’s songs, none of the other songs are exactly the same as they used to be, I had to redo everything, so I think it was very difficult for my four utahimes to work with that. Also, everyone had a bit of a dry spell due to corona so I was a little worried whether or not they could handle the challenge after such a long break. But turns out I needn’t have worried, everyone was amazing so I felt bad for ever doubting them *laughs*. KEIKO: I'm happy you are saying this *laughs*. Kajiura: After all, you are seasoned performers. All of them have a high skill level and are accustomed to harmonising, they are also good at listening to their fellow members’ singing and adjusting their own singing accordingly. I think that there were many fans who hesitated to attend the lives because of corona but with everyone, including KEIKO-chan, singing so beautifully, you will surely have a change of heart and decide to come. You were guaranteed a fun experience so how could anyone miss out on that? Moreover, this time it was a live where the audience couldn’t do anything except sit there and listen so the utahimes needed to be all the more engaging to create a fun atmosphere. They really did their best and made it a wonderful live. The fact that they sang so well in such difficult times, there is really not enough praise for that! KEIKO: This time the set list was full of inspiring and motivational songs. For this reason, I put in a lot more time into preparation and rehearsed frequently by myself. I feel like I've been preparing for two months straight after finishing the FC event in spring. I trained my body and had gained some experience holding a live completely by myself so once the vocal rehearsals had started I felt like I was up to the challenge. The set list was filled with so much fighting spirit that it had just the right amount of heat for a tour in the middle of a pandemic. I wanted to make it a live where the audience would feel like deep inside they could move along despite only being able to sit there quietly. It was similar to what I felt back in 2010 when I had this strong drive to increase the heat *laughs*. With all the breaks and cancellations in light of the pandemic I thought it was very important to go on stage and experience this unique feeling in order not to forget it. Kajiura: I really liked KEIKO-chan's singing in "Beginning". I think that 5 years ago, you would have put too much effort into the performance to make it perfect but this time it felt very intimate, like a private session, like an performance from your "KEIKO’s Room" series *laughs*. It was almost like you were singing in a tiny room, I wonder if you feel the same way? KEIKO: There were times in the past when I wanted to convey such a feeling but I couldn't. I think I am able to do this now because of the experience I have gained, I would like to continue slowly adding nuances like that to my singing. Kajiura: I remember asking once if you could sing “Kaze no Machi he” in the same natural manner as you originally did. Your answer back then was that you could no longer sing it naturally like that but your singing in "Beginning" is proof that you can definitely do it. I feel like that "more personal singing style" is similar to the one you use in your album " dew". There are some songs that are quite strong and powerful but the ballads come across as very natural, I really like the feeling they are conveying. KEIKO: I made this solo album around the same time Yuki Kajiura LIVE vol.#16 was taking place. I think it contains a lot of powerful pieces like “Hoseki”, some bewitching pieces and also songs that are similar to “Beginning”, occasionally it sounds like when I am harmonising with Kao-chan. Many different vocalisation styles were used in the production of the album.

ー So it’s a good thing you did both at the same time?

KEIKO: Absolutely! After all, singing in front of an audience is quite different from singing in a recording studio, so I feel that both experiences had a positive effect on each other. Kajiura: I loved the singing styles you went for and I thought there were a lot of beautiful melodies in the album. “Tori Ame” in particular is such a stand-out piece for me, it really is a good song. KEIKO: Thank you *laughs* I am so happy to hear this.

ー Did you have a concept for the album？

KEIKO: This time, I wanted to make an album that you could casually listen to in your daily life rather than having to pay close attention to all the details. That’s why there may be many songs that feel calm. I tried a few different singing styles such as recitative or restrictive techniques. Kajiura: There are a lot of quiet songs but they are not at all plain or subdued because they are shining brightly. In terms of tension I feel like it is maintained throughout the album, I honestly thought it was beautiful. There is a shimmering radiance running through the entire album and I couldn’t help but wonder if that is what “dew” is referring to *laughs*. KEIKO: That’s “dew” indeed *laughs*. “dew” can mean "drop" or "fresh". During the summer when I was working on the album, I had many opportunities to come into contact with water, the sea, rain, and so on, so this year's me kinda reflected those feelings which in turn inspired the album. I have always liked warm and comforting songs. For example, I absolutely adore Kalafina's "Haru wo Matsu". I feel like I've added more songs like that this time around. Kajiura: How do you feel when an album is completed now that you are a solo artist? KEIKO: This time, I decided to shoot music videos for 9 new songs since I wanted everyone to enjoy a video alongside the song. When we were all done, my team and I felt a strong sense of accomplishment, it was amazing. At the time of the 1st album "Lantana", it felt like I was just trying to put together a few songs that would suit me but this time around it really felt like we had made a proper album, it was great. Kajiura: The overall flow is solid and the album feels strong. KEIKO: Right now, I'd rather use songs that express a part of my daily life or my state of mind. I have always been the type that is easily influenced by others, I like talking to various people to get different perspectives so I think this album contains a lot of inspiration. As a solo artist, I want to incorporate the stimuli I receive in my activities. I think that this album realistically expresses myself.

ー Some songs are written by yourself?

KEIKO: This time, I wrote the lyrics for four songs, "Tori Ame," "Latté," "Hachigatsu no Sora," and "Kimi ga Nemuru kara." I was worried that I wouldn’t be able to write the lyrics for "Hachigatsu no Sora" but after I went to see the sea the lyrics flowed smoothly. The melody of "Latté" feels neither hot nor cold so for some reason when I was thinking of natural lyrics, I kept thinking of drinking latté *laughs*. All the lyrics were really interesting, I was happy to be able to make music that expresses my personality so well.

ー I thought it was an album that you would want to listen to repeatedly with its captivating melodies and consistent feel.

Kajiura: After listening to the last song you really want to press the repeat button. I felt the sound and atmosphere were good and I wanted to keep listening. KEIKO: I hope everyone can also enjoy the 9 music videos we shot. In particular, "Revolution" was filmed in a magnificent location so when we were done, I was deeply moved. Kajiura: I think it’s nice to have so many music videos. KEIKO: I attempted something new but I honestly enjoyed the video production. It was pretty much self-produced, I also did the hair and make-up myself. I tried my best to stick to my own style while also making it fit the image of the song. Also, this time I worked with team of very young people, I was impressed by everyone's way of thinking and their footwork *laughs*. Their motivation was inspiring so we all made those videos with a lot of passion, it was a refreshing experience.

ーI am sure you are looking forward to everyone’s reaction to the album.

KEIKO: I'm really excited! Kajiura: There are so many great songs on this album so I'm sure everyone will be happy. Listeners are satisfied when the music is intriguing and poignant. KEIKO: I hope everyone will like it. I will continue to do my best to make good music for as long as possible.

64 notes · View notes

dat-town · 3 years

Text

not gonna miss this chance

Characters: Han Seojun & soloist!female reader

Genre: fluff

Setting: true beauty au, set a year after the tv show’s ending timeline

Summary: Your career is on the verge of ending, hence your management puts you up to do a duet with the infamous Han Seojun. You have heard too many rumours about him to keep track of and yet, none of them could have prepared you for the feelings that came with meeting him.

Words: 4.1k

Self indulgent little snippet because he deserves happiness too.

You had heard of Han Seojun before meeting him, of course you had. Everybody who was in the industry had heard of the hot trend of a Newstagram star-turned idol and his band's shining debut from a year ago. They were told to have snatched teenage girls hearts all over Korea with their good looks and soulful music. You had heard their title track and you had to admit it was nice but nice wasn't enough in a cut-throat industry like entertainment.

Look at you, starting training at twelve, debuting at fifteen and now barely twenty-one you were on the verge of becoming a thrown away doll. Once you had been called cute and the it girl of your generation and now? People were saying you got boring just because your music had matured. Gosh, you couldn't keep singing about first love like your hit song had been for the rest of your life for god's sake. Your last album had been a flop, your company had been losing money and you were still afraid that even with a year left of your contract, they would cut you. But your manager had begged them for a chance and here it was: a collaboration with the newest love of Korea.

But the thing was, Han Seojun had quite a reputation and you didn't know who to believe. Some said he was well-mannered and hard-working. Others gossiped that he was always flirting with his makeup artists and Chen claimed he had been rude to her even when he had just been a ‘nobody’. Not that you were particularly fond of Chen either but as a fellow solo female singer you were a tad bit worried how the infamous singer would treat you.

Well, standing in front of Move Entertainment, you were just about to find out. Taking a shallow breath you followed your manager's lead, bowing to the receptionist and getting into the elevator after taking your visitor's badge. You had heard the company has gone through many changes after the executives were replaced due to the revealed Seyeon scandal but everything looked expensive, shiny and new, unlike in your small agency.

“Hey, I’m Lim Heekyung, nice to meet you. Seojun will be in a minute, too,” a woman in a pantsuit walked up to you on the right floor with a confident smile as she introduced herself. She led you to a meeting room which was apparently customized for a few people only and started preparing papers. She looked excited which was a relief and nice to see, at least someone from Move Entertainment was happy for this project apparently. You were a bit afraid they would see you like a leech, trying to cling onto their new star’s popularity.

“Shall we start? Seojun is a fan of dramatic entrances anyways,” Miss Lim laughed joyfully as if it wasn’t new to her that the idol didn’t make it on time. Ah yeah, you had heard rumours saying that he had something on the company and that was why they were so lenient with him.

You sat in silence, let your manager do the talk about the collaboration project. Seojun could play the guitar, you could play the piano, apparently it was perfect for a ballad duet, though if you used instruments yourself it added to the preparations time. But luckily, there was a songwriter named Leo at the company who had already sent in a few samples specifically for Seojun, so you didn’t have to start from zero.

“Ah, I see you started without me. What did I miss?” A tall boy opened the door wide and flipped down onto the chair across you casually. He had grown into his lanky limbs and with those wide shoulders hugged by the leather jacket, helix earrings in one ear and soft brown hair brushed to one side, it wasn’t a surprise how many female fans swooned over him. But there were a lot of handsome boys in the business, just his looks – no matter how confident he was in them based on the way he carried himself – wouldn’t make a difference.

Miss Lim patiently let Seojun know about the advances and only when she mentioned your name, did the boy glance at you. His dark brown eyes had a sharp form, just as piercing as his gaze, but the cunning smile spreading over his lips softened it a bit. He looked at you as if he wanted to see through you, to figure out how he should have approached you. You expected a snarky or arrogant comment, but in the end, he just flashed a blinding smile at you, one you could see on his posters, before turning back to Miss Lim.

“What’s the schedule?” he asked simply and you both were notified about the deadline of deciding and finalizing the song, the dates of planned recording sessions and the photoshoot. Since there would be no promotion period, it all would be done within a month and half from start to finish. You were a bit relieved hearing that and leave Move Entertainment without any confrontation.

You thought you were good at masking your wary feelings since the further meetings went well and the first recording session went okay-ish. Although both of you had been a bit scolded by the producer for not putting enough feelings into your singing. He claimed that the demo sent by Leo was much more emotional which made Seojun scoff and mumble under his nose. The PD called it for a day, making you promise to practice for next time and one by one they all left. Your manager told you that he would bring the car while you refresh yourself in the bathroom, so you really didn’t expect anyone to wait for you when you stepped out of the restroom, much less Han Seojun.

"Spit it out," he bit out barely glancing your way as he leaned against the corridor’s wall.

"What?" you spluttered as you were really taken aback by his out of blue appearance and question. The guy let out a tired sigh at your obliviousness and pushed himself away from the wall just to walk up to you, towering over your height with his.

"You look at me as if I killed your hamster or something. Which rumour about me bothers you? I fucking can't keep walking on eggshells around you, especially when it's just the two of us," he tsked and you gulped at the sudden called out. You didn’t think it bothered him, or that he was considerate enough to ‘walk on eggshells around you’, you merely thought he was so distant from everybody. It was still better than what Chen had told you.

"Oh, I… nothing. It's stupid. Sorry," you mumbled, feeling embarrassed for your your actions but Seojun apparently wasn’t satisfied without a real answer as he carried on:

"I didn't bully kids in high school but I threatened ones that deserved it, I didn't only get a pity chance from the entertainment, one of our makeup artists is actually one of my best friends, I'm not…"

"Chen told me you are rude and arrogant and have no respect for girls," you blurted out to stop him from speaking because you felt like you didn’t deserve to hear all that. He didn’t owe you any explanation for the way he was. You were just co-workers for a project after all, you had no place in his life, nor he had in yours, so he shouldn’t have been that bothered by your opinion but you understood that he felt uncomfortable due to your silent accusations.

Hearing your hasty interruption, the singer scoffed, a laugh-like sound leaving his mouth.

"Well, I have no respect for girls like Chen who harass my friends and turn their lives into hell just to go on a date with me," he said and it made you blink slowly.

"Oh."

"Yeah, oh. Check your facts before you go around believing such crap," Seojun stepped back with a roll of his eyes.

The whole situation made you feel made about how you acted, so you wished to apologise but it fell from your lips all too carelessly: "Sorry, I was just worried. This is my last chance, so–"

"Last chance?" the guy quirked a brow at you, curious but you quickly waved his question away.

"Nevermind, I just need this song to do well."

"Of course, it will. I'm Han Seojun, it will turn to gold under my hands," he grinned and made eccentric gestures as if he was about to do magic. You couldn't help a smile. “Or well, vocal chords.”

And turn it to gold, he did.

The rest of your recording sessions went smoother, even the previously grumpy PD complimented your for the development in your chemistry. Funny, you wouldn’t have thought that the wall pulled up between the two of you mattered that much, but at least you didn’t have a knot in your stomach, nor did you worry about every small thing you did around Han Seojun. He also acted more casual, more playful, joking around when both of you had a bit of time to take a breather. He snapped silly pictures, showed off with his height, smirked when he got too close but despite all his bravado and lowkey flirting, you believed even he wouldn’t have jeopardised his career over something like this.

Maybe that's why wrapping up the recording felt a tad bit weird: you got used to his presence, his jokes, his beautiful, deep voice that you could have fallen asleep to. Sure, sometimes he was cocky, a bit rough around the edges but he was a great singer and a fun guy. The project seemed to work out well and you loved it a lot, so you hoped the listeners would appreciate it as well.

But before all that you had one photo shoot together for the promotional pictures and the single's cover. You were grateful for the simple pastel colour background and elegant setting. The warm light latte colour and the clock in the background really fit the song's vibe. Luckily, your dress was decent and pretty as well, you didn't have to feel uncomfortable in it at least. However, you didn’t expect that happy yelp coming from one of the makeup artists stepping into the dressing room. You turned to face the girl, wondering whether she was your fan judged by her excitement.

"Oh my! I'm so happy to finally meet you! Seojun told us about you so much!" she beamed at you which obviously took you back. Well, that you didn’t expect at all. He spoke of you to others? Ah. Apparently to the makeup artist who was most probably that certain one of his best friends he had told you about?

"Don't exaggerate, Imju, I mentioned her like what… once?" Seojun walked in on cue. He rolled his eyes and cleared his throat, trying to avert the topic. "How's Suho?"

You had know idea who that said guy was but after a moment or two you could breathe properly once again while listening to their chatting.

“Just the usual. He’s excited about your duet.”

“Of course, he is,” Seojun grinned, a bit snarky but you could hear the proud undertones of it. When he looked at you, you were surprised by him leaning close though as he quieted down until only you could hear it. “Don’t worry, Jugyeong is really good and just stop her if she gets too gossip-y.”

“Are you talking about me behind my back, hah, Han Seojun?” The pretty girl called Jugyeong raised her fist as if she was about to hit the idol but he just laughed it off and left you two alone when he was hurried onto the set to start with his individual shoots.

“Have you known each other for a long time?” you couldn’t help but wonder as you were seated to get your makeup from her.

“Ah, almost 4 years, I think. We went to high school together. Plus, he’s best friends with my boyfriend. Though, they are always bickering like a married couple,” Jugyeong chuckled joyfully as she started with the cushion. You closed your eyes, listening as she kept going on about the time when Seojun had been obsessed with his motorbike, getting into trouble with his mother. It was strange hearing about a whole other side of him, mama's boy but the image tugged on your mouth, making you smile even though you weren't sure you had the right to know all that. You also learned that Seojun's sister was dating Jugyeong's brother and you felt so involved with the girl's trust albeit it was your last meeting, you were sure Seojun must have only told good things about you.

Hence, you felt shy under his knowing gaze when you walked out of the dressing room. He must have known that Jugyeong couldn't shut up for the life of her, so he looked a bit uncertain, too, stretching the back of his neck, forcing a cunning smile onto his smile when you took your place next to him.

To fit the ballad's theme, the setting was a piano decorated with flowers and you were instructed to sit beside him as if you were about to play a four hands piece. As you did what you had been told, you were very much aware of the way your arms brushed, his long fingers over the keys close to yours, his smile small but genuine.

"Great, great, guys! Someone help her onto the piano and Seojun, stand in front of her," the photographer directed the next scene but before any staff members would have rushed up to you, the singer next to you shushed them.

"I can do it," he insisted as he stood up and looked you in the eyes, silently asking for permission. You nodded while holding your breath back before Seojun put his hands on your waist above the fluffy tulle skirt part and counting on three, he lifted you onto the lid of the beautiful instrument.

You crossed your legs, watching in awe as your pink skirt fell down on waves but your breath hitched for an entirely different reason when you looked up, gaze meeting Seojun's feline eyes trained on you. You had never seen him look at you like that, lacking playfulness or suspicion or curiosity. He looked open, vulnerable, outright starstruck. Your lips parted meaning to ask something but your brain shut off when you heard the shutter of the camera go down and the director yelling compliments at you. It made you snap out of it and later, you blamed the evident blush on your cheeks on the makeup. Seojun blinked too, his guarded expression back in no time, finishing the photo shoot professionally, always lingering close to you, but never touching you. Even though you wouldn’t have minded.

"Hey," Seojun peeked into your dressing room just as you were about to leave, packing up, with a smile on his mouth and sparkles in his deep brown eyes. But unlike half an hour ago when he wore a fancy suit and looked at you like a prince would have looked at his princess, he acted just as casual as he looked in his denim jacket over dark tee. "Wanna grab something with me if you finished for today?"

His question took you back but first thing first you glanced towards your manager, eyes begging for permission which you had gotten with a sigh.

"Just be discreet and call me if you need me to pick you up," your manager shrugged, leaving you two alone with a knowing look that told you to be careful. You didn't need to be told though, you knew how much depended on the current public response to your image.

"Seems like a green light. Have you thought of anything specific?" you turned back to the boy with a subtle smile.

"Not really but I know a few less frequent, secluded places to avoid much talk about us," he said and you nodded, following his lead. Masks, caps and hoodies on, you barely talk on your way to the tent with the lovely ahjumma who welcomed Seojun (two heads taller than her) with a pinch of his cheeks and told you to get seated.

"Are you a regular here?" you inquire, carefully pulling down your mask since not many people are around.

"You could say that," the boy hummed letting you adjust to the place at your own pace, not pressuring you with extra reassessments about how safe it is there. Yet, he is so casual as if he wasn't afraid of a getting mobbed by Dispatch out of the blue. Not that it happened to you a lot of times but you heard stories and at such a crucial time in your career, you feared something like that more than anything.

"Do you want to come up to mine instead?" Seojun blurted out suddenly which made you wide eyed in a span of a moment as you splattered out a surprised yelp. "Come on, I don't mean anything by it. You just look really nervous being in the public," the singer said, his deep voice softening, soothing by the end and you needed to take a breather before answering. You didn't think it was so obvious but apparently you had never been a good liar with him.

In the end, you decided on going over to Seojun's place, so he asked the ahjumma to pack your food to go and you headed towards his flat a few blocks from the company. It was a small but cozy place, much softer and brighter than you expected, lots of pastels and photos of friends and family. While the boy busied himself in the kitchen, getting you plates, chopsticks and beer, you were encouraged to look around and you couldn't help but smile at his photos with not only his band members but high school friends, too. You had seen photos of his graduation with Jugyeong, then another one of his debut with her and another guy. He was a recurring person on a lot of pictures, so you assumed that he was the so-called Suho.

"He's Jugyeong's boyfriend," Seojun affirmed as he walked up to you which you acknowledged with a hum and smiled at his photos with his sister and mother. The makeup artist was right when she said he was only tough on the outside.

"You knew Seyeon?" you whispered as your gaze shifted of a picture of three boys smiling widely into the camera. The middle one was the talented boy you had known from the news of his committed suicide. Such a tragedy.

"Uhum. We were best friends. Him, Suho and me," Seojun nodded and without having to ask, he told you how they had gotten to know each other, what were their favourite past time activities and how they fell apart when he died. You could see he was hurting even now as he was talking about it, so you grazed your fingers against his knuckles as though to say you were there for him to listen, or whatever he needed.

Talking about his best friends and how a group of guys including someone named Chorong stuck by his side over the years warmed your heart. It was nice to know that not everyone had it as lonely as you who basically missed out on high school and memories from that time to be able to turn your dreams into reality. Your only friends were also in the industry but it made things both easier and harder.

"What about you? What did you mean by this being your last chance?" Seojun asked like a loaded gun but after everything he had just told you, you knew you could trust him with this and being in the industry for a while now, he must have understood, too.

You told him about the rising expectations, about your image and your company's ultimatum. It actually felt nice to talk about with someone other than your manager. Especially since Seojun seemed to understand exactly why you felt conflicted over the matter. You have given your youth to this dream of yours, so giving up on it would have felt like betraying yourself and everyone who believed in you but you weren't sure you could give it another 10 years of your life no matter how much you liked music. You had decent CSATs result, maybe you could have applied for a university program. Seojun even offered to arrange a meeting between you and Suho who was studying to become a proper songwriter.

You talked for hours and ate the tteokbokki even though it had gotten cold long ago and you couldn't remember when was the last time you had felt so light. You felt giddy even with just the tiny bit of alcohol in your system by the time you knew it was time for you to go.

Once you had felt relieved knowing that promoting your duet would be only one performance but recently, you started dreading the moment because that meant that you wouldn't have any more excuse to see Seojun. In the backstage, this time around you greeted Jugyeong like an old friend and teased to give Seojun a funny makeup before walking up to your own assigned staff members. Your look was full of sparkles and glow fitting the silver colour of your dress, completing the ethereal vibe off the stage you were going to do and the beautiful song you had grown to love so much you held it close to your heart. The last rehearsals went smoothly and if you noticed Seojun's gaze lingering a bit too long, you didn't comment on it.

"Are you nervous?" he asked before the final recording and you knew it would have been unreasonable to deny it, so you replied with a small smile.

"A bit."

"Don't be. You're pretty and you'll do amazing," he reassured you and the way he said those words oh so easy. As if they were natural. As if he believed in you and maybe this was all the reassurance you needed because when you walked up onto the stage, not taking your eyes off his, it felt like it was just the two of you there. All the stress about not being good enough, about being judged for who you were and what you wanted to do with your life was subsided as you focused on the moment, just to sing this one song with one while trying to fight your heart's crazy beating.

You didn't really have the luxury to have crushes. You had always been concentrated on your work, you couldn't let yourself have distractions, especially since love scandals always affected girl worse than guy. At least that was what you told yourself for always putting up a wall around you and guarding your heart all too well. But during the past few weeks, between playful or flirty remarks, between smiles and ruffling hair, Seojun took apart your wall brick by brick even if he wasn't aware.

So it might have been only a few days since you had last seen him but in that rare moment of boredom, alone in your room, you realized that you missed him. Hell, you liked him and the feeling made me want to scream into your pillow as if you were a silly teenager. As if on cue, your phone buzzed with a new message and seeing the KakaoTalk ID made you shy.

duet partner, han seo jun

so...

i've been thinking

you

sounds dangerous but ok

duet partner, han seo jun

don't get sassy with me, miss

you

what have you been thinking about?

duet partner, han seo jun

that i don't want to miss my chance

there's this girl i like

i thought of asking her out

do you think she would say yes?

you

oh. well... why wouldn't she?

i mean, you are talented, handsome, funny and reliable

duet partner, han seo jun

and what about my job? it's busy and a bit crazy

don't you think it would be unfair of me to ask?

you

I think you should let her decide that

duet partner, han seo jun

okay

are you free on friday?

you

um, sure?

duet partner, han seo jun

cool, then go on a date with me?

#han seo jun x reader #seojun x reader #han seojun #han seo joon #true beauty #stories #i just wanted to give him a happy end after ep16 #that's what this is about

617 notes · View notes

sideblog-666-thousand · 3 years

Text

Euronymous Interview in Decibel of Death, ‘87. English Translation. Ft. Euronymous’ depraved torture fantasies involving Coca-Cola.

‘Decibel of Death’ was a French fanzine from the 80s. It’s first issue was released in ‘86, and by the summer of ‘87, it switched over from French to English-language. This has been my favourite interview of Euronymous for a long time now, so I decided I’d translate it to English so that other, non-francophone, people could enjoy it too. This issue in particular is from February of ‘87, and was their fourth issue overall.

I’ll add a link to where you can find this, and other D.O.D scans, below. If anybody wants me to translate more French, or Russian, interviews, feel free to PM me.

Note: NDLR is the editor’s notes. Any commentary or context by me will be in bold and in parenthesis, so feel free to totally ignore it. If something is between “« »” it’s because it was already written in English to begin with.

Disclaimer: if some of the sentences sound like the energizer bunny is hooked on an iv rig full of pure meth, don’t blame me, I did my best. Take it up with Euronymous himself. Also, I’m not excusing Euronymous’ poor behaviour, I’m just saying his poor behaviour is kind of entertaining.

Without further ado...

D.O.D: And once again, here’s Norwegian Mayhem. If you remember, we presented them to you back in the May issue of D.O.D. Since then, they released a new demo titled “Death Crush”!! Because of this event, we decided to ask the guitarist of this rather sinister band a few questions.

D.O.D: Okay, there’s been more than a few line-up changes in Mayhem. Can you tell us what the current one is?

Euro: Alright, there’s me on guitars, Manheim on battery, Necro-butcher on drums, and our session vocalist, Maniac.

D.O.D: And what is the medium age of the group?

Euro: We are all 18 years old.

D.O.D: How long has Mayhem been around for?

Euro: Mayhem has been around since August of ‘84 with this line-up, before that, I played in another shitty metal group that was also called Mayhem. The other members also played in a crappy band before we all met.

D.O.D: How would you describe your music?

Euro: Ah, well, it’s like a wall of sound played at extreme speed all mixed with the sound of a chainsaw!!

D.O.D: In your opinion, who are the biggest posers on this planet?

Euro: That definitely has to be the Swedish group ‘Europe’. «Fuck them!!» I hate this band!!

D.O.D: Ha ha, what would you like to do to make them suffer?

(This is the exact moment where the interviewers realize that Euronymous is literally fucking insane. The editor censors some of the things Euronymous says because he has a very vulgar manner of speaking, so, brace yourselves. To make it abundantly clear— I didn’t censor any of this, if it was me, I’d let him continue swearing ‘til next year if he wanted to. Take it up with D.O.D!)

Euro: First of all, I’d cut them and make them eat their own (bleep)!! Then, I’ll fuck them in the ass with an empty bottle of Coke, and if they’re still alive somehow, I’ll drown them in their own piss!! (NDLR: I’d do the same to a few guys in Germany and Switzerland!!) But all of this is reserved for their guitarist, drummer and bassist, I have a far crueler torture for their singer, for him, I’m simply going to break his mirror and steal his perfume!! Haaaaafuckinghah!!! (NDLR: ahahahaha, this is so much fun!!)

D.O.D: Okay, Euronymous, onto more serious topics, who composes the most in Mayhem?

Euro: It’s me and Necro, but sometimes Manheim comes up with good riffs, he actually wrote most of P.F.A (Pure Fucking Armageddon)

D.O.D: I believe thrashers reacted pretty well to your first demo, right?

Euro: Despite the zero sound of this demo. It's true that it's actually the hardcore thrashers that appreciated it, although it was the others hating it that gave us an enormous promotion like with 'Metal Forces'.

D.O.D: Has there been groups that have influenced you?

Euro: Of course, early Venom has really inspired us, although we don’t sound like them in any way. We’re also influenced by bands like Hellhammer and Sodom.

D.O.D: Mayhem is a common band name, what do you think of other Mayhem (such as NYC Mayhem, Mayhem (WC), Mayhem (Oregon))?

Euro: NYC Mayhem* are excellent, I adore them! (NDLR: me too!!) and they call themselves NYC Mayhem. But as for the other Mayhems, they stink, «fuckin’ shit», like the Mayhem that’s on Metal Massacre VI*, they really stink, their music isn’t destructive like ours is at all, they don’t deserve this name, I hate them!!

D.O.D: I heard you guys played a show, how did that go?

Euro: It was really «cool», it was at a small rock festival that had around 3-400 «discofucks» (NDLR: this is the censored translation) and when we went on stage with our first session vocalist “Messiah”, we broke a bass over their mouths!! We gave these idiots hell!! Ha ha!! (I’ll link the show he’s referring to below)

D.O.D: And how did your other gigs go?

Euro: For now this has been our only show!! And we don’t know how the crowds will react at the prospect of future gigs.

D.O.D: Fair. Since we’re talking about future gigs, what will those be like?

Euro: They’ll be full of occult things, we’ll play in complete darkness and there’ll be red blood spots, chandeliers, smoke, and pig heads on stakes, it’ll be totally thrashing!!

D.O.D: How’s the Norwegian thrash scene? It’s pretty dull, no?

Euro: Right now, «it sucks», there’s no audience, but it seems to be going in the right direction with bands like Vomit*, Septic Cunts, Decay Lust, and Flowers in The Dustbin.

D.O.D: And what kind of things are your lyrics about?

Euro: depravity, like tearing someone’s (bleep), eating worms, and all those fine things!!

D.O.D: What are your favourite bands?

Euro: Really hard question, there’s so many good bands coming out but I think the bands I like the most are old Venom, Deathchamber, Sodom, Necrophagia, Destruction, Death, Kreator, Poison. (No, not THAT Poison)

D.O.D: Do you ever listen to hardcore?

Euro: «Yeah» I like Chaotic Discord, Septic Death, UK Subs, and others. It hasn’t been that long since I went to see Disorder and it was awesome!!

D.O.D: Are you considering going on tour?

Euro: No, not exactly. But soon we’ll play at a Norwegian thrash festival. We’ll also play at a thrash festival in Copenhagen, and probably do a few shows with Kreator/Necrophagia in ‘87.

(No, this isn’t a typo on my end, it actually says ‘87. There’s two reasons why this might be the case. One, it could be an error on the part of the editor, who deserves an interview of his own, or two, it could be an error by Euronymous himself since the interview might have been conducted in January. Euronymous could have mixed the years up as one sometimes does. However, ‘Death Crush’, the demo, actually came out in March of ‘87. What the interviewer and Euronymous are referring to as ‘Death Crush’ is likely ‘Death Rehearsal’, which is exactly what it sounds like, and was taped back January of ‘87.)

D.O.D: I heard you guys are recording a new demo, is it ready?

Euro: We just entered the studio to record the second “Death Crush” demo, but at the moment, we only have three songs. I’m also unsure of whether or not we’ll have enough money to record anything else, and the vocals still haven’t been put to music!!

D.O.D: There’s some rumours that you guys were contacted by certain record labels, is this true?

Euro: It’s true, we got a letter from Axe killer records saying that they were interested in us but they never listened to our music and I also sent them our demo tape but I don’t believe we’ll be receiving any letters from them now!!

D.O.D: Do you have anything to add?

Euro: Of course, «fucking ARGHHHH!!»

There, that’s all :)

If you’re interested in some of the asterisks I put in, here they are in order of their appearances:

*Unlike most of the bands Euronymous named in this interview, NYC Mayhem (and later as Straight Ahead) never released more than a few demo. They were a straight edge band from, you guessed it, NYC— Queens to be exact. Despite never releasing a full album, their sound inspired some grindcore and death metal bands, notably Carcass. They were also straight edge, which makes Euronymous’ mental breakdown over the Mayhem that was on Metal Massacre very, very ironic. Especially considering he was pretty straight edge himself, especially back in 1987– outside of maybe smoking some pot.

Here is their 1985 demo, https://m.youtube.com/watch?v=t-3geR1JbY4

*Metal Massacre is a series of compilation albums starting in 1982, released by Metal Blade records. Typically, these were independent and unsigned bands. Some notable ones include Metallica on the first edition with ‘Hit the lights’. Slayer in ‘83 with ‘Aggressive Perfector’. The ‘84 edition had Voivod, Overkill, and Hellhammer.

The one which Euronymous is referring to, however, is the one from ‘85. Here it is, the timestamp is 14:19 https://m.youtube.com/watch?v=HqwfsLvLvuY

It’s really not that bad— certainly not worth the double exclamation points.

*If you don’t know who Vomit are, you must not know much about early Mayhem. They were another thrash band who shared rehearsal space with Mayhem. Torben Grue and Kittil Kittilsen (what a sad fucking name) were also ‘in’ Mayhem at some point. Kittil once shaved off his eyebrow, but I don’t know why. Here is a picture of the dork:

The show Euronymous is talking about: https://m.youtube.com/watch?v=mjay2Lmj9C8 yes, this is the show where Euronymous flashes his ass. I think it’s funny because he talks big but he seemed very hesitant to do it, and practically ducked backstage afterwards. Necro, on the other hand, was very proud to have broken his bass.

Well, that’s all I have. If you read this far, I hope you enjoyed the additional notes I left. Outside of a few more interviews of Mayhem, I also have a few obscure Emperor interviews that were posted to the internet in late 90s. There’s an especially funny one where Faust is allowed to interview Ihsahn and Samoth from prison. He’s sarcastic the entire time, refers to the readers as ‘morons’ and proclaims everyone should all die in a nuclear war with the same energy you cross yourself with. Overall, it’s a funny read. I also have one where he interviews Varg, and Euronymous (separately) for his own ‘zine back in the early 90s. Actually— I have A LOT of interviews of Faust for some reason, including two where he’s actually on camera. I might post them if I feel like it, or if somebody wants them. Is anyone here an especially big fan of Faust?

Last but not least, here is the link to the ‘zine:

http://france.metal.museum.free.fr/revues/fanzines/decibel_of_death/04/page_03.htm

#euronymous #mayhem #interview #black metal #true norwegian black metal #I typed this out so it’s mine #Euronymous interview #gee I really hope nobody else posted a translation of this because it took forever #can we make haaafuckinghah a thing?

57 notes · View notes

kenshiv · 3 years

Note

This is soo random but you're one of the few that has really described the feelings that you feel when you listen to John and Pauls music(yours and mine taste are very similar) so I wanted to ask you which songs you find underrated

honestly, most solo songs are underrated because rarely do people bother to listen beyond the Beatles catalogue. these are some of favorites:

John’s

Look At Me is one of my favorites from POB and although it’s obviously a leftover from India it fits so much better with the desolation of John’s first solo than on the White Album

Cold Turkey is SO underrated!! it’s a fact the Beatles wouldn’t have ended if they’d recorded it but I’m glad they didn’t bc it was just John & his vibes now. the moaning is hot too idc

How? is unbelievably underrated as I can’t think of more fucked up lyrics from John than “how can I give love, when love is something I ain’t never had?”

I Know (I Know) is gay gay gay homosexual gay. today i love you more than yesterday???? what?? i’m not a fan of the production on the album but these are probably the best lyrics on it

Old Dirt Road and Mucho Mungo with Harry Nilsson are so damn sweet and soft with proto dream pop vibes, i love it

Steel and Glass (and HDYS?) is sexy as fuck and fuck his son for removing the saxophone in the 2020 remix (actually the entire WAB album deserves the praise Imagine has but we won’t have this conversation right now)

his cover of Do You Want To Dance is so much better and the reggae vibe is delicious, I love it. Bony Moronie is also HOT sexy hot god i wish i was *** **** sooo bad idc

(Forgive Me) My Little Flower Princess is possibly his most underrated officially released song? maybe? it’s so nice and makes me feel good idk i love it

these are just his officially released ones, he has some pretty fucking good demos out, ask me about them later

Paul’s

THE POUND IS SINKING does not get the praise it deserves. structurally flawless and gorgeous, wish the rest of his songs were more like it

Tomorrow is one of the BEST Wings songs and it doesn’t get enough love (except from me since it was my most listened song last year 😗). the cover of Love Is Strange is also much better than the original and the decision to make it reggae was genius

Darkroom is awesome and quite similar to Temporary Secretary. I wish Paul had an editor to help him put only good songs in an album but :)

Flaming Pie (the song) is fucking amazing and I think he had John in mind while writing (Heaven on a Sunday is also the best song from the album and underrated imo)

A Love For You is SUCH a good track and it deserved to be on Ram or at least Wild Life to make it better lol

However Absurd GAYEST homosexualest paul song of all-time but it’s in his worst album so i get why it’s underrated (the lyrics to Footprints are fucking insane, he was on fire, but the song itself sucks so)

The Lovers That Never Were is only popular among the mclennonies but everywhere else is underrated (especially the 1988 demo which is the superior version)

Hell to Pay and Road from his 2013 album are underrated i think since i never heard anyone talking about them

the entirety of Chaos & Creation seems to be pretty underrated to me but particularly Friends To Go and Riding To Vanity Fair and ANYWAY which is my favorite song from it :)

#ask #hmph that was long but uhh i only listen to these two homos anyway #sometimes i can't feel anything so i put on my jp playlist to remind myself unconditional love is real

12 notes · View notes

franki-lew-yo · 3 years

Text

I really hate 2d purists. No, not 2d animation. Not 2d animators.

2d purists.

The sad thing is it’s gotten to the point that I really cringe hearing any pro-2D sentiment at all. I hate the arguments I agree with because how often they're misused and weaponized by idiots.

Let me make my stance here clear - 2d is NOT appreciated and 3d is used for everything! The layman Karen-mom who doesn’t have an artistic bone in her body looks at stupidsmooth 3D Grubhub ads and assumes quality cause it “looks more real” (aka ‘rendered’). I know as much is true because I literally have a member of my family who told my sister and I that she thinks 3d is better (and also that she “tolerated THOSE movies for us kids”. Touching words. My sister was taking an animation course by the way). Combined that with the studios either using 2D for cheap stuff or finding good 2d animation too “costly”, I get it and I’m not even any animator. I'm just a worm an illustrator.

but holy HELL -

There’s a backlash from the artistic community that's it's own kind of insufferable and deserve to be addressed.

“(insert2Danimatedfilm) is better BECAUSE it's 2D!”

followed by: "Animation is a visual medium and the quality of the art affects how much the story means !!!!”

Yes. Totally. Animation is a visual medium and the look and style is important. Sadly, people use this excuse to really obnoxious ends, insisting that design being pretty is '' everything ''. When you treat a movie more as a special effects demo I get why you talk about the artistry at hand; but I’m sorry, visuals are not the only thing important and it’s why I’m also getting sick of the sameElsafacesyndrome rants too! There’s this attitude that's reads as "but it LOOKS better fromaproductionimage/teasertrailerwhichapparentlyisindicativeof all themovieactuallyis so it MUST BE better".

-“3D should only be used to make things look realistic!”

I think I know the logic this criticism is made in response to, and that’s the Sony + Illumination films which look just as good in 2D as they do in three dimensions. I know it feels like people are twisting this medium to try and make it like a classic cartoon when by all means people can and would love a classic cartoon being a classic cartoon. That I get- From the unsung 2D animator’s perspective, that’s more than valid !

But it’s a huuuuuuge slap in the face to 3d in saying it should only be used for "realistic animation" because

1: It’s not like realistic animation could age badly or look uncanny in the next few years. It's almost like technology is constantly improving, which I guess 2d animation never did and it was always the same technique and quality as every film that came after it.

2: The industry does treat 3d as a magic-moneymaker for this reason. Just listen to these people call the 2019 LION KING “live action” as if they’re embarrassed to call it animation. It IS animation! It would be impressive if you acknowledged that what it is, but like the CATS, you basically are treating it as just a neato tool to better your live action and not it's own artform - which it is!

3: By this “three-deeonly gud when real liek in da toystories” non-logic I guess 2d should ONLY be for flowyflowy SPACE JAM cartoons and maybe some Disney*. Just that though. You can’t do anything more with 2d. It’s never supposed to be realistic I guess. Good thing Richard Williams only did 'toons' and just toons that’s why we need 3d in the world I guess.

Wait no - that’s stupid.

"I HAVE to see the “Land Before Time 14″ when it comes out! I mean it’s a 2D animated film!"

Lost in the aether that is Youtube comment chains removed from kid's videos is a stream of this very VERY stupid argument supporting the buying of the 14th LAND BEFORE TIME film because it’s supporting 2D. My sister and I can be found on that chain arguing against this stupidity. All you have is my word, but trust me: it really did happen.

I’m sorry but...no.

Unless you have a friend or a family member who worked on these movies there’s no reason to see this and ESPECIALLY no reason to insist it’s a win for the 2D community if you buy up this crap - and I'm not judging if you do like it, but come on! LAND BEFORE TIME 14 isn't where your money should go if you really like this medium.

What’s so infuriating about this argument is you can tell it’s made by nonanimators. Real animators will tell you to support their movies cause they want some respect for their artform which is why there’s such a push from the PRINCESS AND THE FROGcrowd that you SEE and LOVE every 2d thing out there, regardless of how good it is because any recognition for it is k i n d o f what they're after!

Kiddy sequel schlock isn’t even in the same ballpark as KLAUS or WOLFWALKERS; these films DID have very limited theatrical runs (Klaus so it could be nominated; Wolfwalkers in places where theaters opened up after Covid) and should have been supported because they were labors of love made by people who love animation.

As other people have already pointed out, one of the reasons for the lack of interest in 2000sera2D animation is that the only films released alongside critical+financial 3D hits were cheaper 2D films that either coincided with daytime tv shows or should have been just direct-to-video. It’s not to say art couldn’t come out of these flicks, but dayum if it wasn’t abused as much as the texture software that era's CG used... Point being, should the world ever go back to normal: If you hear about an out-of-town showing an acclaimed 2D animated film, make time to trek out and see THAT!

Don’t give your money to see yet another made-for-tv movie on the big screen because all that tells the studio is: “yeah 2d IS cheap and only good for cheap stuff let’s just keep it cheap. Only 3d is important 8D 8D 8D !!!"

“I don’t understand how it works. So it sucks.”

This text is from an ANIMATOR btw.

“I don’t understand how it works” and “it’s just some computer rendering” is the exact same wave of logic the people who prefer cgi use.

The plebian Karen I mentioned earlier? She understands the basics of 2D animation as much as you did from one of those cruddy flash classes you took in middle-school. She 'understands' the basics cuz she watched how it was made on the DVD features or maybe back on the WONDERFUL WORLD OF DISNEY. To her, the illusion is broken and she’s not impressed by 'just some drawings on paper'. You, an animator, know the process is more complicated and is intrigued by knowing how it’s made - not bored or disinterested -

Neither you nor Aunt Karen have really good cg-animation software at your house and unless you ARE a 3D animator you probably DON’T know all the ins-and-outs of how these movies are modeled, rendered, and animated.

Aunt Karen is bedazzled by them cause she doesn’t know how it works and the technical aspect makes her brain hurt so it might as well be magic and she can feel like a cool kid sharing Minion-memes. Aunt Karen is the nonartistic type who just wants to feel safe. You're not. You want to feel challenged.

I get it: you’re pissed off cause you’re in a field no one, including Aunt Karen, appreciates; told to work in cg which it's an artform you didn’t devote your life to and told to learn it cause THIS style sells! 3D is everywhere and is starting to look like 'garbage' even if you don’t animate 3D models yourself you just KNOW, I guess. Besides, you know all there is to know about 2d!! You know all there is to possibly know about this artform and have to fight this 'war' against "r e a l" animation! And I mean even when 3d software is there to use, it's not like you can actually make anything worth while in it, especially not anything that transcends the medium. Right Worthikids?

TL;DR: This argument is basically just " BWAAAAH I’M NOT GONNA USE IT I HAVE STANDARDS (a chip on my shoulder cuz art should be what I deem it to be) "

“PRINCESS AND THE FROG is-”

There’s a reason I can’t say I truly like PRINCESS AND THE FROG even though it's not even a bad movie! Like, stop reading this and watch PATF if you haven't it's good. It's my 'FROZEN', in that; I see a lot of potential in it I just think it needs some serious rewriting and that bugs me. Always have felt that way, tbh.

I dislike this movie because the response from the animation community seems to be it was perfect and the Academy was just Pixar-crazy with UP ((ftr, the Academy IS Pixar’s bitch and I personally advocate a sequel be made to WAKING SLEEPING BEAUTY about Mike Eisner’s sabotage of the 2D department at Disney which is still in place now!- but that’s a story for another day)). I’m sorry but UP was just a better story. So was CORALINE. So was FANTASTIC MR. FOX. Honest to god it feels like poor PATF is brought up as just a talking point and never for it's own worth as a labor of love - which it was! I'd like to honestly know: had PRINCESS AND THE FROG come out now and been cg if it would have even half the defenders for it because now it doesn't "look" like how a Disney movie "should" look...

If you like PatF more than the currant Disney lineup because of it's culture, it's music, it's feminism, it's black representation? Awesome. Great. Those things should be appreciated and I never want that taken away from you. But if you seriously think PatF is better just for how it was animated and looks - I lowkey may hate you.

“ALL OF DISNEY’S LATEST MOVIES SHOULD HAVE BEEN 2D! THEY ALL LOOK AWFUL IN 3D!! ALL OF THEM!”

TANGLED, FROZEN, and MOANA? Yeah. Sure. But um, e x c u s e y o u- WRECK IT RALPH sooooo doesn’t work in 2d! It could have used different between the various worlds but it’s about hopping through different video games. I’m also of the opinion that ZOOTOPIA and BIG HERO 6 are fine the way they are. Their 3d is awesome.

The latest fairy tale Disney films are really big on their place alongside the 2D canon esp in marketing. They keep trying to mimic 2D to varying results though I don't think it works as well as the movie's I'd previously mentioned. Me personally, I would love a mix of 3D and 2D technology, like if the backgrounds in FROZEN still got to be 3D but the characters were handdrawn and shaded ala KLAUS ((sweet sigh)). But even then are they truly unwatchable just based on how they're animated to you?

MOANA would have been incredible in 2D but for the record - I don't think it feels out of place in it's style. It reminds me more of a Pixar movie with the heart of a Disney classic which is it's own just as good.

“2D is the oldest form of animation and it’s being replaced.”

Actually, if we’re talking animation in film, stop motion is the earliest form of animation. The stop motion animated THE ADVENTURES OF PRINCE ACHMED and TALE OF THE FOX predate Disney’s SNOW WHITE. And yes: stop-motion IS still a form of animation even if it’s a serious of pictures taken of real life things and not drawings, so don’t you dare come at me with the "but that's not animated"/"Technically it’s LIVE ACTION" crap or I’ll envoke the spirit of Sandman to get you at night.

“Every animated film would look better in 2D! Even PIXAR would look better in 2D!”

Again, Stop Motion.

No, I mean it.

Lemme ask: Would ISLE OF DOGS or FANTASTIC MR. FOX carry any of the same effect if they were generic 90s toons? I know NIGHTMARE BEFORE CHRISTMAS wouldn’t. Christ, don’t even get me started on Svankmajer!

Sometimes the problem is that a movie is envisioned with a specific artform in mind. Pixar started out with toys and bugs for a reason and that’s cuz they were always gonna be a 3d studio and they needed to first overcome the placisity of the models. Over the years they’ve gotten really good at effects and blending unrealistic proportions with real textures (and also not so much- ONWARD and THE GOOD DINOSAUR really needed some different character designs and yeah, I do think would have looked better with a 2d artstyle, but not the ones they had in their films. THE GOOD DINOSAUR needed more realistic-speculative looking dinos and ONWARD needed a grittier HEAVY METAL/BLACK CAULDRON appeal to its designs.) My point being that the problems with these movies aren’t even inherently the animation as much as it is a problem of style. As someone who runs a group speculating different styles and designs for movies and tv shows I’m all for envisioning a 2D ZOOTOPIA or Bluth-inspired FNAF. That’s amazing!

But that’s also the talk of fan artists and nerds and not the professional artists working on visualizing their stories!!

Since I ate, slept, and breathed NIGHTMARE in my youth I’ll use it as an example: All the concept art ever done for TNBC was on paper and 2D was used in the final film. However, even when Tim Burton was thinking of making it just a tv special it was always going to be stop-motion. NIGHTMARE’s puppet cast do work very well in two dimensions, believe me, but the film was made as a love letter to Rankin/Bass and the art form of stop-motion. Skipping to another Henry Selick-helmed project (haha), JAMES AND THE GIANT PEACH was also always envisioned as a multimedia film to give it a truly dream-like atmosphere. If you know anything about Henry Selick you’ll know he’s 1) a perfectionist, and 2) loves mixed media and different types of animation and puppetry at once. That’s why he was the perfect pick to direct TNBC at the time, why JAMES AND THE GIANT PEACH and CORALINE are so beautiful and why MOONGIRL, his only fully 3d film, doesn’t have the same appeal.

As for what films I couldn’t imagine NOT being 3D? Probably; 9, Padak, Next Gen, Soul, Finding Nemo, the Toy Story films, Wreck-it-Ralph (as previously mentioned), Wall.E, Waltz with Bashir, Robots, Inside Out, Arthur Christmas, The Painting, Happy Feet, Shrek, Enter the Spiderverse, Megamind… just naming a few here.

“I want a traditionally animated film [and by that I mean a 90s-Disney/Don Bluth looking movie] of ‘x'-popular live action/stage thing!”

Okay I’m cheating a bit but it’s my blog and so I’m gonna stick this one in because it’s related.

When I see musings about wanting live-action or CGI shiz to be in 2d again a lot of the time this argument actually boils down to " I want this to look like a 90s Didney movie ". Or, if it’s about animals - " I want it to look like a Don Bluth film! "

Like...there ARE other styles of animation out there...you know that right?

Frack, Disney themselves tried different styles throughout the 90s it’s just that the peak of the Disney renaissance films (LITTLE MERMAID, BEAUTY AND THE BEAST, ALADDIN, THE LION KING) and the many imitators that followed tended to have the same look to them where only film/animation nerds kept watching into the era that was TARZAN, HERCULES, and ATLANTIS along with the kids. Aunt Karen wasn't singing Part of your World in the carride with you every day.

The Don Bluth argument is especially irritating because...what exact feeling do you WANT from a movie if it looked Bluthish? Each of the four ‘quintessential’ Bluth movies (NIMH, AMERICAN TAIL, LBT, and ALL DOGS) have such a different feel to them that’s complimented by that style; SECRET OF NIMH is a drama about wild animals trying to understand humans; LAND BEFORE TIME is even more squarely about an animal’s perspective as there’s literally no humans around; AMERICAN TAIL uses animals stowing away on the ship to tell a story about refugees; and ALL DOGS GO TO HEAVEN is ALL DOGS GO TO HEAVEN.

What the frack are you even asking for with that because I think there’s a certain flavor to the Bluth-styled oeuvre as well as the 90s Disney catalogue that would clash too much stylistically with some films.

Also come on! Like some Bluthian-style 2d would really fix THE SECRET LIFE OF PETS or SCOOB!, bite me.

I think this fixation solely on these two hand drawn styles and nothing else is based on nostalgia goggles, refusing to step outside the norm and discover different films and feelings than Disney and Bluth, and just preference. Goin back to NIGHTMARE there will always be a special place in my heart for Henry Selick’s stop motion, but I couldn’t imagine CHICKEN RUN or ANOMALISA in it's unique style.

Also I’m tired of every time there’s a "lets make an animatic to ‘x’ musical theater song" it’s reliably just Disneyesque or realistic. WHY envision an animated version of the show at all if it doesn’t have A STYLE to it??!?! I’m sorry but 90s-Disney does NOT fit CABARET!

“3D is so CHEAP now! Why can’t they just do 2D again?”

I think - on the cusp of the 2020s and the Grubhub hatedom, there ARE changing times ahead for 3d and 2d. The general public are starting to get tired of the same looking 3d films and wanting some 2d back, but they don’t have the best resources or opinions on animation to know what it is they want. Meanwhile, the animation community + industry is trying to figure out what to do and you have a lot of turmoil between the monopoly that is the industry, the high standards of the artists, and the mixed wants of the animation fanbase deciding what art needs to be.

It’s a tough business. And in the spirit of that tough business - maybe DON’T act like the means of a film’s production is solely your control, that you know best, and know definitively what the artists should have done....cuz you don't. Sorry my fellow criticalfanomanalysist-folks we DON'T and in an age of standom where fans and critics think it's okay to hackle indie animation studios about not getting their pitched cartoon out fast enough - we need to reserve these discussions to our circles and not treat them as gospel.

3d animation and 2d animation have to share this world. Stop acting like they’re either interchangeable in terms of budget, means of production, or artistry or that one has to be superior to the other.

The industry already says one art form is better (spoiler: it’s always live-action), we don’t need anymore of this purist garbage. Just stick to what you like while trying new things on the side. Be critical while also being compassionate. And remember:

youtube

#animation #animation on tumblr #2d animation #3d animation #traditional animation #hand drawn animation #Franki's Features

36 notes · View notes

blush-and-books · 3 years

Note

🥳🎉 Congrats on 1.5k followers!!!🎉🥳

My four word prompt for you is

One: famous au

Two: fluff

Three: meeting

Four: autographs

And anything you come up with will be amazing 💕💕ily

once again i got carried away. but who is surprised??? this was so much fun!!!

Luke Patterson was excited to be at the Grammys for many, many reasons -- but only part of it (a big part) was because Sunset Curve was nominated.

Best Rock Album, Record of the Year, and Best Rock Performance were their three nominations for their third album, Demo Tapes, and specifically their singles Now Or Never (rock performance) and Unsaid Emily (record of the year). It was all that the boys had been working towards, seeing as this was their first time around after a near revolt towards the academy last year for snubbing their sophomore, self-titled album. The four of them were beaming with excitement in their custom suits -- God, custom, as uppity as it was, Luke couldn’t deny he looked hot.

However, besides the fact that the four boys were rocking their suits and were going to be honored to perform Now Or Never on the same stage that their inspirations had done decades before -- Luke couldn’t help the bubbling in his stomach that he might run into Julie Molina on the red carpet.

Yes, the Julie Molina.

After revealing during a round of Spill Your Guts or Fill Your Guts on the Late-Late Show that Julie was Luke’s raging celebrity crush, and she exposed the same truth about him while playing Plead The Fifth on Watch What Happens Live, Luke had been itching to meet her in person.

Both of them seemed to be on the other sides of the country -- hell, even the world -- at different times, from running the talk show circuit to world touring. He knew they were both from LA, but it never felt like they were home at the same time.

Tonight, she was nominated for Best Pop Vocal Album, Best Pop Vocal Performance, and yes; Record of the Year, too. And this was only for her sophomore album, Wake Up, and her leading single of the same name. The single had debuted at #1 on the charts and knocked Now Or Never to #3 (it was competing with All Eyes On Me, by Dirty Candi), while the album had been switching with Demo Tapes on the charts for the last month.

He was honestly hoping that they would get the chance to communicate, or even collab, at some point -- as many avid fans online were urging -- because he was pretty sure she was one of the most talented songwriters in the next generation of the music industry.

He thought they could make each other even better.

His plan was honestly to try and track her down on the red carpet, and if that didn’t work, he would find her in the auditorium. She would probably be in the front row next to Adele or Beyonce anyways, seeing as how she was (as deserved) America’s Darling.

“Dude,” Alex elbows him in the gut and gestures to the line of paparazzi and reporters with flashing cameras in microphones. “Stop staring into space and smile. And walk us on, lead guitarist.”

The nickname is said with spite and a smirk, but Luke is overall grateful that Alex centered him in the moment once again and got him to quit looking for Julie.

She probably wasn’t even there yet, so he shouldn’t worry about it.

(Even though he’s definitely been fantasizing about how stunning she’ll look tonight.)

Him and the boys walk up to a few reporters to hyperactively answer a few questions while finding time in between to pause for photos of all of them together, and some individual shots. They are in the middle of being ushered down the red carpet when he hears it:

“Julie! Julie Molina! Come here darling, I would love to talk to you!”

There are a few people in between them, but she’s there -- in a stunning, bright purple dress covered in sparkles and small diamonds. Her curls are flawlessly pulled back but still twirling down behind her head, and to be blunt -- she takes his breath away, even though he can’t see her clearly.

“Luke! Luke!” A photographer is calling out to him, so he is sure to face back and sling his left arm around Reggie as the band poses for a few more group shots. Once again, a technician is guiding them to walk right to proceed along the carpet, and Luke catches that Julie is still being interviewed.

He doesn’t realize he’s staring when a reporter, the same reporter that’s interviewing Julie, is calling him over.

And Julie is still standing there, visibly blushing under layers of makeup and sending him a sheepish, apologetic smile.

Without hesitation, he jogs over, and hugs the reporter.

“Hi, Grace! It’s good to see you!”

“Luke Patterson, you are the talk of the night -- besides my other guest, Miss Julie Molina, of course.” Grace gestures to both of them, and Luke sees that Julie is still avoiding her eyes, and even though they are currently broadcast on national television he just wants to talk to her.

“Yes, of course, I’ve been looking forward to getting to officially meet her all night.”

Julie’s head whips to the left to look at him -- he meets her eyes with his classic, joyous Luke Patterson grin. When she reflects it, he feels like the final nail has been hammered into his coffin.

“No, you have not!” She slaps his arm playfully. “I should have known you’d be a flirt when I met you.”

“So what you’re saying is… You’ve thought about meeting me too?”

Their moment is interrupted by the reporter. “Wait, you two haven’t met before? That’s impossible!”

“And incredibly disappointing,” Luke jumps in. “All of our fans keep asking us to meet but we’ve been touring at the same times, and the timing’s just never been right.”

“I just told Marie Claire last week that Lu- Sunset Curve, sorry, was my dream collab for the future. Our sounds could blend so well!”

Luke’s heart just about shoots out of his chest, so he tries to control himself by biting his lip with a smile. The reporter doesn’t miss it. “Luke, you look happy about that!”

“I- I-” His stutter emerges, but he quickly swallows and changes directions. “It’s just really cool to hear that, we listen to Julie’s music all the time at home, and I have spent an unhealthy amount of time imagining a collaboration, so hearing she feels the same way tells me already that we would creatively blend really well.”

At his side, Julie beams at him. His cheeks hurt from smiling so much, and she’s giggling at his sweet words, and in the split moment that the reporter tries to regain their focus -- their hands brush together as they spin back to face Grace.

In a bold move, Luke raises his fingers towards hers like they are magnets, and holds his breath while he waits for a reaction.

He can finally breathe when her fingers link in his; her soft skin brushing along and sending sparks up his arm.

“Well, I should let you guys go,” Grace says with a sigh, “but thank you both so much for taking the time! Can we expect a possible Julie Molina/Sunset Curve collab anytime soon?”

Surprisingly, Julie takes the lead on this one, her fingers tightening around his hand.

“If it’s not the next song that I release, then somethings wrong and you guys will need to send help.”

You have a band, Luke tells himself, a band that you need to talk to about-

“I second that,” he finds himself saying with a squeeze to Julie’s hand.

As the reporter hypes up their announcement while facing the camera, they start to walk away, and Luke realizes he has to rejoin the band on the carpet and not get to stand here and hold Julie’s hand and tell every reporter that he is holding Julie Molina’s hand!

Julie turns to him. “See you in there?”

“See you in there,” Luke smirks, “I’ll be the one on my feet when you sing.”

“And I’ll be the one holding the Grammy.”

And with a wink, as Luke shakes his head with an awed grin, she makes her way back to the carpet.

As it turns out, they do find each other later. Shockingly, Julie asks the band for an autograph, because -- despite Luke’s teasing -- her little brother is apparently a huge fan.

She is the victor in the competition for Record of the Year, but Sunset Curve pulls away with two trophies from their other nominations, and Luke can’t find it in him to be anything but overjoyed for themselves and Julie -- especially as he watches her sing, captivate the entire audience, and get everyone on their feet at the end.

In a burst of impulsiveness, she joins them in their van after the ceremony; but instead of going to an afterparty, they drive to the boys’ house on the beach and Luke finds himself curled up on the couch in his custom suit right next to Julie (who is almost on top of him), furiously writing down new songs and beginning their collaboration then and there.

It turns out, they were wrong about one thing.

The next song released by the two artists isn’t the collab -- the next album is. Julie and the Phantoms becomes their official collaboration project, and spirals into more of a hit than their individual groups.

Twelve months later, they are back at the Grammys, and everything is the same -- only they are no longer competing. They are a team. And Luke couldn’t be happier about it; especially when he shows up on Julie’s arm.

@willexx @unsaid-emily

#jatp #julie and the phantoms #jatp fanfic #juke #juke fanfic

52 notes · View notes

euronymous-files · 3 years

Photo

translated from Norwegian

"He came into my life at a time when I had just started listening to extreme and loud music. I sat at home in Råde and listened to local radio from Oslo. [...]

Frode Øien had a program where he invited the then unknown band Mayhem to visit because they had recorded a new demo tape. They were just incredibly mysterious and used pseudonyms and stuff, and I mean remember they took over the whole radio broadcast. To me, it sounded like Frode was set aside as host and the band took over for a couple of hours. It was absolutely magical. They played their own music, but not least they played lots of other things that were completely unknown, Hellhammer, Bathory, lots of early black metal and other extreme things. They obviously had great insight into what was going on and were by definition the only Norwegian band that existed in all these genres at once. They were the starting point for everything you could call extreme metal. It all starts with Mayhem."

Anders tells of how he became "insanely fascinated". [...] “The following week, a guy who was a competition winner appeared and said he was the brother of someone in the band. His name was Aarseth, and that led to me simply browsing the telephone directory, and I found only one Aarseth family in Ski. I took the chance and called and hit right on Øystein. That conversation must have lasted an hour or two. He met someone who was open to the same things as him, and then he was like a wandering library and very enthusiastic. His fervent commitment was something you felt right away, something he literally lived for. He gave my whole musical approach a kind of passion I had never experienced before.” To the young Anders, four years older Øystein Aarseth appeared as a kind of natural messenger of all the new things that were about to happen, and he swallowed everything he was told. He took in all the tips Øystein shared and received a lot of music that engulfed him, first from Øystein, then also from other bands.

"In the 80's it was not so common to have contact with people in other countries. If it were not unknown, getting to know people abroad was much more difficult than it is today. The only method was letter writing, and this whole underground scene was very much based on that. We wrote to each other and attached leaflets and fanzines and other things. You picked up the things you had on tape and changed the recording. Øystein introduced all this to me. I also went to practice with Mayhem. Back then I was 13 and a half years old, and got a first-hand impression of how the music sounded in your face in the rehearsal room. It made me completely obsessed that I should also start such a band. I had finally found my thing. This was very early in the development of black metal. We who came in right away make up a small but significant group of people. Among those I became acquainted with at that time are or were virtually all members of the most famous and prominent bands. Øystein had an incredibly central role as a source of inspiration and door opener for how to engage with music on the side of the industry, to be independent, in your own world."

Were there other aspects of him than the purely musical that inspired you? The energy, the courage, the talent? "What I took to myself very early was to sacrifice everything for this here. If you wanted to get somewhere with the music, you had to choose it over all other possible leisure activities and side tracks you could end up on, to only care about this music and abandon absolutely everything else. This was something he introduced as an opportunity. Many people did sports and had boyfriend projects and all sorts of things, social things that take a lot of time and resources, but here it was an alternative race to unfold in which I really took to. I had lived in a block and terraced house environment until I was ten years old and moved to a farm. I went from a life where people rang the doorbell all the time to being socially isolated. Now I got a platform that made it possible to break out."

Were you and Øystein friends or is there another way to describe their relationship? "I was a fanboy in the beginning. He got really mad when I copied everything he did. Then he was clear that this is not the way to do it. He was very careful about it. I was very young, and I was looking for band members myself in Fredrikstad and Østfold. When I started Cadaver, there was more mutual respect and a more collegial friendship. Things slipped a bit for him in '92 -'93. In the summer of '93, a few months before he died, he was very much looking for old friends. It was clear that he had been going through a period with a lot of focus on other things, but now he was looking up old friends to play the new Mayhem things that he had been working on for so long. I was with him several times during this time and felt that we had a friendship that was more mature. I had my band, had released an album and been on tour, and now Øystein was finally facing a breakthrough with the album he had talked about releasing for six or seven years. That he was killed became even more sad because of it. He knew he had made something very significant and very good, but never saw it come out."

[...]

"I was in a way close to the events", Anders says. "I also knew Pelle and was several times in the house where they lived in Kråkstad. When such things happen, you are shocked and think about what you could have done differently. But that Øystein did as he did was probably most related to his penchant for myth-making and image-building. He took it too far of course, but his way of thinking about things was that everything could be used for what it is worth in a PR context. I think it would have been perfectly fine if not everything that happened, it would not have made any difference. I remember hearing about him doing it, but not thinking much about it. He probably had an idea that this was so extreme that he had to do something about it. That might say something about how he liked to see things from above. He did not consider himself a direct part of it and did not see that there was anything wrong with it. I think he saw it in a kind of bird's eye view, but it's very difficult to say."

Where do you think Øystein would have been today if he had not been killed? "It's an exciting thing. We who knew him wonder if he had not grown tired of having to move closer to the regular music industry. In a way, he was a bit about to do it himself with his label, and also realized he could not run distribution on his own. I was part of his distribution. It worked so that he sent ten copies of a record to everyone he knew and trusted. All sold nine and sent money to him, and were allowed to keep one themselves. Those records are probably worth 10,000 kroner today. He signed several bands at the end, and the same day he died, Enslaved signed a contract with him. He had other things going on too, so I'm not sure where he ended up." "However, there was a lot going on around him that could have had an unfortunate effect", Anders believes. If he had not been killed by Varg Vikernes, or "The Count", it would probably have been rolled up that he was nearby when Holmenkollen chapel burned. "I do not know if he had been able to sit in jail. He was probably tougher in words than in reality. But what is mainly wrong with the myth of black metal and Øystein was that he created something with knowledge and will to succeed, as it was afterwards. It was rather the opposite. His ideas were to have this as a non-commercial business. You should deserve to hear this music. Being a listener in itself required a number of criteria. If it was up to him, as he told it, the whole scene would be a kind of lodge, and if you were first inside you would hear what others did not hear. But it was going to go away anyway, because it got too big." "Then he did not experience the internet, but it would have been something for him. Because he had so many extreme political ideas, the internet as it has been very much appealed to him. For example, he would be amazed at how widespread conspiracy theories have become. He was interested in extreme political directions, in Pol Pot and communism. I think he too had ended up in a more experimental musical direction. He was an extremist in everything he did and did it full on, and he probably still wanted to hunt for more and more extreme expressions."

[...] What is the best thing Øystein did? " "Freezing Moon". What I find very musically exciting is that it contains so few notes. The atonal and asymmetrical in the arrangement gives an introduction to something completely different than rock. It's the atmospheric, and the movements as we call it, and the riffs that are there. Øystein was concerned with throwing everything away and starting all over again, and it was such a song. It will always be a pillar in the Mayhem catalog and in the development of black metal."

read the full interview (in Norwegian) here

#euronymous #oystein aarseth #mayhem #black metal #files #archive #interview #anders odden #cadaver #satyricon

21 notes · View notes

randomvarious · 2 years

Video

youtube

Céline Dion - “Unison (Mainstream/Extended mix)” This Beat Is Hot...The Compilation Song released in 1990. Compilation released in 1991. Dance-Pop / House / Freestyle

You probably know Céline Dion for her years of 90s chartbusting balladry: "My Heart Will Go On," "It's All Coming Back to Me," "Because You Loved Me," "All By Myself," her "Beauty and the Beast" duet with Peabo Bryson, and the like. She's managed to sell hundreds of millions of records worldwide, she's singlehandedly redefined what it means to have a Las Vegas residency, and she's racked up award after award after award as well. And she probably deserves it all since she really is one of the most gifted vocalists of all time, but her songs tend to be so rote and formulaic and impersonal and just plain boring to me.

However, Dion wasn't always on that big, over-produced, and overly sentimental adult contemporary tip. But in order to give you a sense of what she was before she found that cash cow of a calling card, it's probably best to go all the way back to her beginning. So here goes:

Céline Dion is the fourteenth of fourteen children in her family. She grew up in Quebec and she never characterized her childhood as one of poverty, but food wasn't always easy to come by either. However, it was a childhood filled with both love for one another and of course, music.

Dion was first discovered by the man who'd go on to become both her manager and husband, René Angélil. When she was just twelve years old she recorded a demo song for him, and while it took a little light prodding from one of her brothers to get Angélil to finally listen, he was immediately sold on her talent once he did. Angélil decided to meet with Dion so he could witness her voice in person, just to be sure she was the real deal, and was moved to literal tears by her performance. She wasn't even a teenager yet, but Angélil knew he'd just discovered a pure vocal diamond and he even mortgaged his own home to help finance her debut album, 1981's La Voix du bon Dieu.

Now, I don't want to bore you with all of the awards and adulation that Dion earned over the ensuing nine years or so following that debut album, but let's just say she became Canada's best kept secret—at least to Americans—until her eventual crossover to the States. She won a Yamaha music contest in Japan in 1982, she won Eurovision in 1988 for Switzerland, and she also recorded thirteen more albums.

But when Dion was 18, she saw a Michael Jackson performance and decided she wanted to become an international superstar just like him. She more than had the vocal agility for it, but almost none of the presentation to actually pull it off. She also didn't know much of any English either. So she had to remedy those two things to become marketable to a global audience. She got a full-on makeover, which changed her looks from those of an adolescent teen to those of a young woman, had some dental work done (Canadian tabloids had been known to cruelly refer to her as "Canine Dion"), and also took English classes.

She changed the style of her music, too. There was simply no market in America for her Francophone-branded pop, so she needed to make music that had much broader appeal. Dion signed to CBS Records, but they were lukewarm on her at first, originally only offering her a pittance of $25,000 to record new vocals over the original music from her prior studio album, her biggest to date at the time, Incognito. But at a 1987 CBS Canada convention, she performed a duet with national pop star Dan Hill, which impressed CBS' president so much that the budget for her next album was raised to $100,000 and allowed for new songs to be recorded for it. Dion then sang at the 1987 Juno Awards (Canada's equivalent of The Grammys) and that performance got CBS to up the budget to $300,000. Then, David Foster, a producer at CBS who'd go on to co-produce Dion's English debut, Unison, saw tape of that Juno performance and got the budget to be upgraded to an unlimited amount.

A total of about $600,000 ended up being spent on Unison, and its title track, a cover of a song that originally appeared on the soundtrack for the 1983 Tom Cruise vehicle, All the Right Moves, was released as one of its singles in Canada and Japan, but curiously was only released as a B-side elsewhere. Kinda weird for your title track to not be its own single, right? Especially your American debut? Didn't really end up mattering in the end; the album went platinum in the US anyway, despite only peaking at 74 on the Billboard 200, which are numbers that honestly don't make sense anymore.

Anyway, here's what I'm talking about when I say that Céline Dion's sound was different before she really blew up and became the undisputed queen of adult contemporary belters. She's actually doing a disco-funky dance-pop thing on the original mix of "Unison," which is not remotely close to what she'd soon end up becoming world-renowned for.

youtube

And the song came with a freestyled-up house remix, too, which wasn't just one of those dance remixes that ended up sitting on the B-side of the single only to be ignored by the popular masses. No, it was actually the version they used for the song's music video. And it even featured one of those very early 90s darlingly rudimentary rap verse interlude things, too, which came courtesy of a total nobody who has no other credits to his name beyond this song named Frankie Fudge (and for those keeping track, Frankie Fudge doesn't appear in the video; that's just some other nobody lip synching his small verse). Céline Dion and rapping? On the same song? Now that's not something you hear every day!

youtube

Known as the "Mainstream/Extended Mix," and produced by an established Toronto club DJ by the name of Kevin Unger, this version got nominated for a Juno Award for Dance Recording of the Year in 1991, but lost to "Don't Wanna Fall In Love (Knife Feel Good Mix)" by Jane Child. However, it was also voted the song of 1990 in Quebec, beating out Madonna's "Vogue," on Quebecois radio network NRJ.

All this is to say that Céline Dion very well maybe could have gone in a completely different direction had she not done "Beauty and the Beast" with Peabo Bryson. That song really ended up skyrocketing her career into total superstardom, which led to her complete dominance of the adult contemporary market, but had she not been enlisted for "Beauty and the Beast," one can't help but wonder what she could have maybe done with the dance-poppier side of pop instead. The history of music could actually be completely different right now given the impact that Dion left with the groan-inducing banality that she ended up choosing. It more than worked financially for her, of course, but it would've been nice to hear her pipes applied to something more interesting, like "Unison," and the pop trends that were soon to follow. But in the end, it seems that's not what Angélil saw was best for her, and well, I guess he was proven right.

#dance pop #pop #dance #dance music #house #house music #freestyle #freestyle music #electronic #electronic music #music #90s #90s music #90's #90's music

3 notes · View notes

takadanobaba · 3 years

Text

Kurokawa Rei’s Birthday PriZoom 8/8/2021

YOOOOOO

Reminder that prizooms are also accessible to everyone and don’t require any Japanese residency confirmation!! If you’re interested in attending, please go and support kinpri!!!

Soundboard hell I love you so much

So this time I only went to the second showing for Rei’s birthday event! I also chose the chat-only room because that’s what I started out with and I loved it so I wanted that same experience again. They were showing sss part 4 with the Rei+Hijiri PrismChat as a bonus! Which was perfect because :

1) Ever since Jin’s birthday I’ve been missing the cheering screening experience (even if it’s not in a theater it counts!!! the community is what makes it!!!!!!)

2) I did mention being curious as to if anyone would try to hit YO to Platonic Sword in Jin’s post

3) I was interested in the Rei+Hijiri PrismChat!

RakutenTicket sends the link to the soundboard early and apparently they use the same link for every showing in the event so I got to listen in on the first course’s soundboard hell while waiting for the second course to start! I was wondering if people tried to YO along to the lives in every prizoom event, made me happy to hear that they do! Oddly enough, I find that cacophony soothing in a way? I’d love for them to put out a demo soundboard or something so you can just play around with it whenever

Also, not sure about the actual gender statistics of who attends prizooms, but it seems like most people choose the male voice option regardless? Probably because the male YO sound is funnier and being synced with everyone adds to it?

There weren’t any audio problems this time, but the video quality was noticeably worse. While attending I was thinking that I actually liked the audio problems since they unintentionally make prizooms more fun thanks to how it heightens the community experience (everyone spams 頑張ってー/ “ganbatte” together!!!). With bad video it’s just kind of sad haha. I mean I guess it’d be better to have no issues at all (...maybe....... it does increase the fun) but if lower resolution is the trade off for audio problems then I’d prefer audio problems.....

In the little waiting period before part 4 actually started (takes a while for participants to trickle in since people are let into the rooms and verified manually), they play music which is nice!!! Especially since it helps for cheering practice. Daisuki Refrain was particularly memorable since it was so YO-able...... made me think about the contrast between Shin’s actual song and Platonic Sword (which has a reputation as the uncheerable song). Nice to see that even without mics or being able to properly cheer, the feelings remain consistent between (what I’ve heard about) theater showings and prizoom chat-only rooms!

Platonic Sword actually is really difficult to YO to but people tried their best anyways, the only agreed upon part to YO to is after every new pose in that one bit where Shine dies a bit and then stabs himself.

Part 4 is SUPER SERIOUS sometimes because of all the prism messenger plot so the soundboard is just DEAD SILENT during those parts because everyone’s just in terror. Really adds to the experience since people try to cheer as much as possible! The most used sounds for the Shine parts are just “ME TOO” whenever he talks about love (people simp for Shine!) and “出たー! / AAA THERE IT IS!!!” just whenever he appears/stabs someone/does that eye thing.

What surprised me the most though was how many people REALLY LIKE SANADA??? There’s just SO MUCH CHEERING whenever he appears???? It gave me whiplash every time. Sanada is actually my 3rd favorite character (after Jin and Joji because I have awful taste so I love them and their dynamic as a trio) and I really didn’t expect anyone else to like him because he’s just horrible?? I hate-love him. But apparently people genuinely love Sanada. Honestly the most terrifying memory coming out of a part 4 screening to me.

BRILLIANT OATH’S CHEERING WAS REALLY GOOD TOO!!! Mics aren’t allowed in the chat-only rooms so nobody can properly sing along for the audience part but that’s NOT A PROBLEM THANKS TO THE SOUNDBOARD!!! Everyone just spams YO along to every syllable and it’s just SO FUNNY. Like there’s this super emotional moment where a new deity is born to regrant the prism sparkle in a world that the gods abandoned.... through the sheer power of everyone yelling YO. Beautiful

A lot of the notable participants (like the Victoria cosplayer) from Jin’s showing were here too. It wasn’t as crazy as Jin’s but it was cool seeing all the cosplayers and everyone’s plushies! Also cool seeing that the person who made the cute custom Jin plushie made one for Rei too??

💖 💖 💖

Here’s a link to my recording of the bonus !

Luna actually already translated the bonus PrismChat between Rei and Hijiri (thank you Luna!!) before I got around to finishing up this post! If you’re reading this, then go and give her translation work the appreciation it deserves!! Also go read her new prism rush translation!

(I actually haven’t gotten around to finishing reading it myself because between making prizoom posts and just being busy with life I wasn’t able to properly focus and give it my full attention ;;;>_> BUT AFTER THIS!!)

And errr try not to spread my recording around too much just in case if any staff decides that archiving content that will probably never be released officially or translated is a reason to start cracking down on making things less accessible for an overseas audience ^^;;;;;;

💖 💖 💖

ANYWAYS!!!!

IT WAS REALLY FUN!!!! It was really nice being able to attend a prizoom again!!

For the feedback form, I put in a request to give Sanada a birthday so he can get the prizoom treatment because oh my god people go crazy for him. Unfortunately I do too. They really need to give him the Yamada treatment and market him more, I’m pretty sure Sanada’s more popular than Yamada too? OooOo kinpri you want to put out more content and take my money ooooOoOoooOoooo

And lastly, reminder that anyone can attend prizooms!!! And if you’re interested then you really should!!!! I’ll be posting a guide for the ticket buying process later to help with that!!!

#king of prism #kurokawa rei

7 notes · View notes

watusichris · 3 years

Text

Betty Davis: They Say She’s Different

It appears that everything anyone has written for the old Music Aficionado site has now disappeared from the web. A random Facebook post has prompted me to re-purpose this story, written in 2016, about my favorite funketress. **********

To this day, the name Betty Davis – Betty with a “y,” that is – remains best known to connoisseurs of Miles Davis minutiae and ‘70s funk obsessives. While it’s true that Betty played an important off-stage role in the career of the jazz trumpeter, to whom she was married for just a year, and she undoubtedly made some of the best hardcore funk records of her era, she deserves to be recognized beyond the relatively narrow provinces of the jazzbo and the crate-digger.

Uncompromising, intelligent, brazen, aggressive, and not incidentally gorgeous, sexually provocative, and a fashion plate always ahead of the curve, Betty was a prophetic figure. Spawned by the explosion of music, fashion, and alternative culture of the late ‘60s, and by concurrent leaps in black consciousness and feminism, she was a take-no-prisoners singer and writer who presented herself as something new, rich, and strange with her self-titled debut album in 1973.

There were some badass contemporaries working the soul and funk trenches– gutter-tongued diva Millie Jackson and one-time James Brown paramour Yvonne Fair leap to mind immediately – but they seemed to be adapting tropes previously worked by male singers in the genres. Betty still sounds like something new: a tough, smart, demanding woman who reveled in pleasure and insisted on satisfaction, unafraid to claim what she wanted.

Despite the fact that she was associated with some high-profile male musician friends and lovers – beyond Davis, the roll call included Hugh Masekela, Jimi Hendrix, Sly Stone, Mike Carabello, Eric Clapton, and Robert Palmer – she was no groupie or bed-hopping climber. Possessed of her own self-defining vision, she was producing her own records and leading a tight, flexible little band by the end of her brief run.

In 1976, after completing four splendid albums (only three of which were released at the time), she disappeared, not only from the music business but from the public eye entirely. What happened? It’s an old story that many women in the industry will recognize: Her record company didn’t know what to do with her, and wanted her to tone down her act. Betty Davis wasn’t having any of that, thank you, and she hit the damn road.

She was born Betty Mabry in Durham, NC, in 1945. She grew up country, and was exposed to down-home, get-down music early. On the title track of her second album, They Say I’m Different, she runs down the artists who served as inspirations: Big Mama Thornton, John Lee Hooker, Lightnin’ Hopkins, Howlin’ Wolf, Albert King, Chuck Berry. The blues, in one form or another, is the backbone of her style.

Her family relocated to Pittsburgh when she was young, but at 16 she left home for the Fashion Institute of Technology in New York. There she was hurtled into the roiling cultural vortex of the Village. She took up modeling, working for the toney Wilhelmina agency, and began running with a posse of similarly disposed, equally beautiful women who called themselves the “Electric Ladies.” Sound familiar? One of her closest cohorts was Devon Wilson, for many years a notorious consort of Jimi Hendrix known for her freewheeling, outré sex- and drug-saturated lifestyle.

Mabry began to try her hand at singing, and cut a few self-penned singles. They were in an old-school mold in terms of structure, but her very first 45 hints at things to come. “Get Ready For Betty,” a 1964 track released by Don Costa (discoverer of Paul Anka and Trini Lopez and a key arranger for Frank Sinatra), is stodgy early-‘60s NYC R&B to its core, but its message is pointed: “Get out my way, girl, ‘cause I’m comin’ to take your man.”

She also made a stolid romantic duet ballad with singer Roy Arlington and, produced by cult soul man Lou Courtney, a homage to the Cellar, the New York club where she DJed. But she didn’t start reaching the upper echelon of the music biz until one of her songs, a hymn to Harlem called “Uptown,” was cut by the Chambers Brothers for their smash 1968 album The Time Has Come, which also included the psychedelic soul workout “Time Has Come Today.”

The Chambers association probably secured a singles deal for her at Columbia Records, and her first session for the major label was produced by her former live-in boyfriend, South African trumpeter Masekela, in October 1968. By that time, she had split with him: A month earlier, she had married a far more famous horn player, Miles Davis, whom she had met in 1967. Davis and his regular producer Teo Macero would head her second session for Columbia in May 1969.

Those two dates were released for the first time as The Columbia Years 1968-1969 earlier this month by Light in the Attic, the independent label that has restored Betty’s entire catalog to print over the last decade. While devoted fans can be grateful that the work is finally seeing the light of day, it does not make for easy listening, for it was clearly made by people groping in the dark.

Betty’s artistic persona was at that point completely unformed, and so her male Svengalis did their best to mold the clay in their hands, with feeble results. Masekela evidently completed just three tracks, two of which, “It’s My Life” and “Live, Love, Learn,” were issued as a flop single. The homiletic song titles give the game away; the music, straight-up commercial soul backed by a large group (which included Wilton Felder and Wayne Henderson of the Jazz Crusaders and Masekela), has nothing original to say.

The date with Miles is a bigger waste, if a more spectacular one. The personnel couldn’t have been more glittering: Hendrix sidemen Billy Cox and Mitch Mitchell; ex-Detroit Wheels guitarist Jim McCarty; bassist Harvey Brooks, studio familiar of Bob Dylan and former member of the Electric Flag; and Davis’ then-current or future band mates Herbie Hancock, Wayne Shorter, John McLaughlin, and Larry Young.

But nothing jells. The material is either weak (Betty’s directionless original “Hangin’ Out” is the best of a bad lot) or incongruous (lumbering covers of Cream’s “Politician” and Creedence’s “Born On the Bayou”). Worse, the jazzers are unable to lay down anything resembling a solid soul-rock foundation, and even reliable timekeeper Mitchell blows the groove on more than one occasion. Miles gets impatient with his spouse at one point, rasping over the talk-back, “Sing it just like that, with the gum in your mouth and all, bitch.”

Apparently intended as demos, the failed tracks were consigned to the tape library. By late ’69, Miles and Betty’s marriage was history. She left her mark on his music: She appeared on the cover of his cover of his 1968 album Filles de Kilimanjaro and inspired its extended track “Mademoiselle Mabry” (based on the chords that opens Hendrix’s “The Wind Cries Mary”) and “Back Seat Betty” from his 1981 comeback album The Man With the Horn.

Moreover, she moved him toward the flash style that would dominate his music through the mid-‘70s, by exposing him to the slamming music of Hendrix and Sly and exchanging his continental suits for psychedelic pimp togs. Would we know Bitches Brew, On the Corner, and Agharta without Betty Davis? Maybe, maybe not.

For her part, Betty remained in the wings for a while. She collaborated on demos for the Commodores; in London, she modeled, worked on songs for Marc Bolan of T. Rex, and declined a production offer from her then-paramour Clapton. Drifting back to New York, she met Santana percussionist Carabello. They became involved romantically, and in 1972 she relocated to the San Francisco Bay area, where Carabello’s local connections led to the formation of a stellar band to back her on a debut album.

One reads the credits for Betty Davis in awe. The rhythm section was the Family Stone’s dissident, puissant rhythm section, bassist Larry Graham and drummer Greg Errico (who also produced). Original Santana guitarist Neal Schon, future Mandrill axe man Doug Rodrigues, founding Graham Central Station organist Hershall Kennedy, and keyboardist and ace Jerry Garcia collaborator Merl Saunders filled out the instrumentation. The Pointer Sisters, Sylvester, and Kathi McDonald were among a large platoon of backup vocalists.

Issued in 1973 by Just Sunshine Records, an independent label owned by Woodstock Festival promoter Michael Lang (who also released a set by another unique woman, folk singer-guitarist Karen Dalton), Betty Davis was one hell of a coming-out party. Since her abortive Columbia dates, she had developed a unique vocal attack that could leap from a velvety croon to a Tina Turner-like shriek in a nanosecond. The stomping funk of the studio band backed her up to the hilt.

Like Turner, she was one Bold Soul Sister. The lust-filled opening invitation “If I’m in Luck I Might Get Picked Up” announces that a new game was afoot. The statement of romantic/sexual independence “Anti Love Song,” the lovers’ chess match “Your Man My Man,” and the self-explanatory “Game is My Middle Name” offer up a startling, hard-edged new model of a hard-funking female vocalist.

The album’s most affecting track may be “Steppin in Her I. Miller Shoes,” Davis’ level-headed elegy for her sybaritic friend Devon Wilson, who sailed out a window at the Chelsea Hotel in 1971. “She coulda been anything that she wanted…Instead she chose to be nothing,” Davis sings, implying that route wouldn’t be one she would take herself.

“If I’m in Luck” grazed the lower reaches of the R&B singles chart and the album failed to reach the LP rolls at all, but Davis was undaunted. For 1974’s They Say I’m Different, she took the producer’s reins, which she would hold for the rest of her career. While the backup lineup is less glitzy (though Saunders, Pete Escovedo, and Buddy Miles, on guitar no less, appear), the support is still sizzling; crackling drums and burbling clavinet put over a set of songs that may have been even stronger than those heard on her debut.

No one who hears “He Was a Big Freak” is likely to ever forget it; it’s a startling dissection of a masochistic relationship -- inspired by Jimi Hendrix, and not, as many have assumed, by Miles Davis (“Everyone knows that Miles is a sadist,” Betty remarked later). Almost as notable are “Don’t Call Her No Tramp,” a prescient condemnation of what we now call slut-shaming, and the autobiographical title track, with slicing slide guitar work by Cordell Dudley.

Different and its attendant singles tanked, but Betty managed to maintain her profile with live gigs noteworthy for their uninhibited bawdiness, on-stage abandon, and the star’s Egyptian-princess-from-outer-space wardrobe sense. By early 1974 she had assembled a hot, lean road band that included her cousins Nickey Neal and Larry Johnson on drums and bass, respectively, plus keyboardist Fred Mills and guitarist Carlos Morales. This lineup would back her on her last two albums.

The end of Just Sunshine’s distribution deal liberated Davis, who, at the suggestion of then-boyfriend Robert Palmer, inked with Palmer’s label Island Records. The company released Nasty Gal in 1975, and it may be Davis’ best-executed work. The pared-down backing lets the songs shine, and there are good ones here: The shameless title song, the vituperative blast at the critics “Dedicated to the Press,” and the out-front ultimatum for sexual satisfaction “Feelins” get right up in the listener’s face. The most surprising track is the ballad “You and I,” an unexpected songwriting reunion with Miles, orchestrated by the trumpeter’s famed arranger Gil Evans.

It’s a tremendous album, and Betty supported it with live shows that ate the funk competition alive. A bootleg of an especially out-there set recorded at a festival on the French Riviera in 1976 literally climaxes with Nasty Gal’s “The Lone Ranger,” an in-the-saddle heavy breather that Davis wraps up by feigning a loud orgasm.

One should remember that at this particular juncture, Madonna was studying dance at the University of Michigan.

But Nasty Gal faded with hardly a trace, and Davis’ relationship with Island swiftly became fractious. It’s easy to see why the label declined to issue her final album, originally called Crashin’ From Passion and ultimately released, after years as a bootleg, by Light in the Attic in 2009 as Is It Love or Desire. The collection, which leans heavily on songs about sex, doping, and heavy drinking, includes “Stars Starve, You Know,” an outright condemnation of the games record companies play:

They said if I wanted to make some money

I’d have to change my style

Put a paper bag over my face

Sing soft and wear tight fitting gowns

They don’t like the way I’m lookin’

So it’s hard for my agent to get me bookin’s

Unless I cover up my legs and drop my pen

And commit one of those commercial sins…

Oh hey hey Island

And that was all she wrote. Until writers began to seek her out in the new millennium as her records became available again, Betty Davis was an invisible woman, one who had blazed a trail that other talents, such as Prince and Madonna, would blaze more profitably after her. She was definitively ahead of her time.

Asked by one writer what she had done since leaving music, Davis, who turns 71 on July 26, responded with the most tragic thing one can imagine any artist saying: “Nothing really.”

7 notes · View notes

rovewritesit · 4 years

Text

Angel Of My Dreams (Chapter 2) John Deacon x Reader Series

Series Summary: After reluctantly joining a band with your childhood best friends, you are thrust into oncoming stardom with no sea legs and an overwhelming sense of anxiety. But you just might find your way, thanks to some seasoned pros by your side. And the interest of one particular bassist.

This series is a work of fiction, and is loosely inspired by real people and events. Absolutely no offense is meant to actual Queen or their families.

PART 1 - PART 3 - PART 4

Pairing: John Deacon x Reader

Chapter Warnings: Cursing, duh. Feelings of anxiety.

Chapter Notes: A wild Deacy appears! Reader was supposed to meet him in this chapter but it got a bit long. I may have awkwardly stuffed in some backstory as well, but I wanted to get through it before we start having more interactions with the members of Queen. I’m a hoe for Hot Space and Cool Cat is such a vibe so I had to throw it in here. If you haven’t heard the original demo with Bowie you should take a listen. The music video concept was sparked loosely by Mitski’s “Happy” video (it’s gory af, be forewarned). I’m aware that the MTV of the 80s definitely would’ve banned anything like that, but it’ll come back around in the plot later on.

Songs Mentioned:

Heart of the Night - Juice Newton

More Than A Feeling - Boston

My Best Friend’s Girl - The Cars

Song/Title Inspiration: Angel - Fleetwood Mac

Taglist: @yourlocalmusicalprostitute

- - - - - - -

February 1982 - Orpheum Theater, Boston

It’s noisy in the cramped green room backstage at the Orpheum Theater in Boston. Gone were the days of grand arenas while tagging along with Hall and Oates. Now only around 2,000 bodies lined the seats out in the house, but you still feel that familiar bubble of nerves as Dawn busies herself around your hair.

Dawn, your best friend from your two short years at NYU, had agreed to tag along for the short tour to help with your “look.” Not that you ever really had a problem with your usual jeans and t-shirts, but this rock type of glam proved to be a different beast, and Dawn certainly had an eye for style. Her voluminous hair always streaked blonde and crimped to perfection. She’d tried to convince you many times to do something chemical with yours but you held firm to your virgin hair, causing your pre-show routine to run well into an hour and a half to get the desired popular style. You smile up at her as she curls part of your bangs away from your face, truly grateful to have another woman around.

“Babes, please stop moving your head. I’ve had to do the same piece 3 times already.” She tuts at you. “And Eds, I’ve asked you how many times to watch your elbows, jesus christ.”

Eddie tries to cram in even tighter against the wall, keeping to the five tiny spots you’d all wrangled against the mirror. “Ay, I’m trying over here. It takes some effort to get all this together.” He smirks, running his fingers through his already perfectly coiffed hair. A shame really, that it would be utterly destroyed within 15 minutes of being on stage.

“Have we picked a city song for tonight yet? I want to go over it in my head a few times before we go on.” Lawrence calls out, trying to tug on a pair of pants that look a size or two too small for him.

The Limbs had taken to playing one song per show by a famous local artist from the city they were in. Since they only had the one album out, it was a chance to get the audience singing and moving together; to change up the pace. A modified tip from a certain mustached rock legend that the band had started to implement.

“I thought we decided on More Than A Feeling?” Eddie says as he tears his eyes away from his own reflection.

“That’ll be what they expect. I think Bun sounds better on My Best Friend’s Girl,” Rich says simply. He’s attempting some form of stretching routine in the back corner of the room, his extremities bumping up against the walls.

“So Y/N’s taking this one?” Steve asks, lounging across a small loveseat against the wall, his legs dangling off of it delicately. He looks up from whatever song he’s been working on.

“You heard what the label said. They want Y/N more center stage, so to speak, for marketing reasons.” Rich tries folding his body into some sort of pretzel shape. A light “oof,” escapes his lips as he falls backward slightly.

“Ah yes, we need to give the public what they want,” you huff, wanting to roll your eyes if not for Dawn covering your head in a cloud of Aqua Net.

Eddie starts pacing, or at least tries to, “I just don’t get why they’re trying to make her into some Debbie Harry.” He scoffs, “Like that’s ever gonna happen.”

Dawn glares at him. It was a bit of a low blow, but Eddie was still getting used to sharing the spotlight with you, with him singing lead on almost every other song.

You were still struggling to find your presence on stage and were more than happy to take a back seat to the boys for the most part. And while some of the band’s other singles were gaining traction, none were close to catching up to Heart of the Night, which was now getting steady airplay and record sales thanks to the absurd music video that hit TV screens everywhere a few weeks back.

“That’s true, Y/N’s much more of a Linda Ronstadt type if we’re throwing out names,” Lawrence grunts out. Finally able to close the button on his skin-tight pants.

A cold laugh erupts from Eddie. “Exactly. It’s the Eighties now if you haven’t noticed. It’s all about edgy sex appeal, and let’s be honest, even Steve has a better chance of-”

“Enough!” Dawn’s voice sliced through the air, the daggers thrown from her eyes flying towards him. She leans down to your level to examine her masterpiece. “You look as sexy as a goddamn playboy bunny, hun. No pun intended.” Her voice softens as she pinches your cheeks.

The room goes mostly quiet for the next few minutes as the local opening band starts to close out their set with their last two songs. Only Rich’s deep breathing, fitting in time to the beat.

You chew your cherry painted lips, mulling over Eddie’s words. You knew full well that you weren’t exactly the frontwoman the label or the public dreamed of. Hell, you weren’t even supposed to be a frontwoman at all. When you’d finally given in to Rich’s insistent pestering to come have some fun with the boys, you’d been at NYU for two years. You loved your film classes but felt the hole that was left from the absence of playing any type of music. In high school, you’d all show up to a party with a variety of instruments in your grasps. It almost always resulted in a crowd gathering around to listen, joining in with your voices, clicking their beer bottles in time with the beat. It was when you had felt most carefree, and you had ached for that feeling again.

But playing locally turned into recording an album, for which you wrote a song for some dream of a man that only existed in your thoughts. Next thing you knew you were scooped up by Columbia Records, missing classes to attend photoshoots or album release parties. People were listening to your voice, your song, and wanting more. You dropped out of college to the dismay of your parents but were immediately enveloped in your friends' glee, finally reaching the precipice of something they’d only dreamed of. You hated the thought of letting them down in any way but you couldn’t shake the feeling that it was all a fluke, that you had nothing else to give. Destined to fade out as a one-hit-wonder and a disappointment to your best friends in the world. The weight hit your shoulders as you slumped in your seat.

None of this was supposed to happen, you tell yourself. It never happens like this.

You’re broken out of your daze when there’s a rap at the door and a muffled “5 minutes” from the stage manager behind it. You all stand, waiting for Rich to spread his wings and engulf you in your usual pre-show pow wow. You slide Dawn in next to you in the now group of 6, needing someone steady as an anchor.

“If you’d please, Reverend.” Steve probes, cheekily.

“We’re gathered here today” Rich begins and Dawn giggles. “To bring immense joy to those 2,000 idiots out there, who so willingly sold out our show for us. They deserve a performance played to 200,000, so that’s what we’re going to give them. In the name of our fathers, John, George, Paul, and Ringo. Let’s go give em’ hell.”

“Amen!” you all shout and disband.

As you follow the boys into the dingy hallway leading to the stage, Eddie catches your wrist. He looks at you through his long lashes with an uncharacteristically shy smile that almost never sees the light of day.

“I’m sorry for being a prick, Bun. I shouldn’t have said all that,” he mutters as you continue to walk, not wanting to miss your cue.

“No worries, Eds. You were right though. I’m definitely no Debbie,” you force a chuckle at yourself while a roadie slips your guitar strap onto your shoulders.

“It’s not alright. And no, you’re not,” he says catching your downturned eyes. “You’re Y/N fucking L/N, and you’re just gettin’ started, baby. All you gotta do is take a little bit of the love we all have for you and give some to yourself once in a while, alright?” A grin forms, showing his adorably asymmetrical teeth as he reaches out a hand to ruffle your painstakingly perfected hair. “That’s better. Now let's get out there so you can show the world exactly what kind of frontwoman you are. And don’t be scared to show them a hint of Bunny while you’re at it.” You move your guitar out of the way to pull him in for a close hug. You hear Steve start banging his snare and pull Eddie on to the stage with you, feeling a bit lighter than you had been minutes ago.

You approach your mic and take a look out at the packed, hazy theater.

“Well hello, Bawston!’ Your accent rings out to the faceless figures before you. “Aren’t you all looking fuckin’ fabulous tonight!”

- - - - - - -

March 1982 - Musicland Studios, Munich

“No, I didn’t say it’s bad, just that it sounds tinny,” Brian argues, crossing his spidery arms over his chest as he leans against the doorframe.

“And it’s as if you’ve shoehorned Bowie in there just to mumble in the background incoherently. A waste, really.” Roger tacks on from beside him.

John sighs and leans his head against the back of the couch in the studio. “Just because it’s not your precious red special or your own magic fingers at work, doesn’t mean it’s tinny,” he counters calmly. Trying his best to keep the annoyance from seeping into his voice, knowing that Brian already had anger stemming from John’s earlier composition for the album.

It was the first time this week that all four men were in the studio together. Finishing up Hot Space was proving to be a strain on all of them and the growing rift had caused the men to nearly finish their songs separately instead of in their usual group dynamic. John’s experimentation into different styles, such as funk and disco, had not been willingly received thus far.

“Well, I sound rather fabulous, if I do say so myself. I’m very proud of us, Deacy.” Freddie states, getting up from his own place on the couch and stretching.

“It’s not that, Fred. It just doesn’t sound like us.” Brian sighs, already sensing the escalation of a row coming along.

“Oh please. Not this again...” Freddie huffs.

“That’s because it’s not us. It’s me and Freddie.” John cuts in with a roll of his eyes, landing them on Mack, their producer, who just shrugs and trains his gaze back to the board.

“That’s for sure.” Roger murmurs out. Now it’s John’s turn to cross his arms as he levels their pointed gazes. He’d worked with Fred for days putting together “Cool Cat,” hoping that the additional vocals from David Bowie would be a selling point for the other two.

With a clap of his hands, Freddie moves about the room. “Why don’t we take a quick break and then give it another listen?” Roger groans. Freddie pats his shoulder as he makes his way over to a radio beside Mack.

John rubs his tired eyes before pushing himself off the couch, eager for a break from the energy in the stale room. “I’m grabbing a coffee,” not offering one to the others as he brushes past Brian on his way out, quickly retreating down the hallway as fast as his legs will carry him.

The remaining three startle a bit as Freddie flips on the radio, Lo & The Limbs hit single pours from it, louder than expected.

“Oh! Oh, yes! Simply marvelous,” he exclaims, jumping up and down lightly. Roger and Brian raise their eyebrows in silent questioning. “This is the band of rascals I was telling you about the other week. They must’ve just broken out here.”

“The yanks you met while in the States?” Roger questions, turning his attention to the song, eager to judge any brimming competition.

“Yes, yes, the wild young lady who swears like the devil and her band of merry giant trees.”

“We have one of those!” Rog nods in Brian’s direction, voice muffled by a cigarette now dangling from his lips.

“Hm, Brain’s more of a willowy spruce, if you will. These ones are giant redwoods. You know American’s. And they have these thick New York accents. I could barely understand a word they were saying at first. What a riot they were.” he remembers fondly.

“I feel as if I’ve heard this before, but I can’t place it.” Brian ponders, almost to himself.

John appears in the doorway, blowing lightly on a steaming mug.

“Probably from that shocking video of theirs, darling,” Freddie waves his hands about. “Oh, you must’ve seen it. They’re all dressed up like they're in Grease or something, and this square of a girl is pinning after the bad boy. But he’s with this slutty little thing. And oh, I can’t recall the details, but in the end, she ends up murdering the slut!” He slaps the table for effect. “But for some odd reason the boy is okay with it all and they run off into the night together, covered in blood.”

“Sounds… spooky?” Roger shrugs. John stifles a chuckle.

“It’s dramatic! And sexy. And obviously working for them.” The wheels already turning in his head.

John tunes out their chatter and trains his ears to said song, which is about halfway through. The instrumentals seem a bit basic for his taste. The soft strum of an acoustic guitar, a slightly heavier electric over it, with a simple bass line. A female voice flits in.

Cool city moon lays its touch on the room,

Your eyes reach to me

It has a rasp to it. Akin to Stevie Nicks, he thinks.

Two shadows fall saying nothing at all,

We know what we need

No, not quite. It’s entirely it's own if he’s being honest. He can feel the soul pulsating through words and the power that’s beneath it. One that could probably fit with any genre it should choose. His interest peaked.

In the release, two prisoners are free from the darkness

One more escape surviving the heartache and madness

The raw emotion erupting from the speakers and the lyrics start to paint a picture in his mind, scrambling to fill in the faceless voice.

In the heart of the night

The chorus starts and picks up steam quickly. Male voices begin to fill in on background vocals, blending together seamlessly.

We run like bandits

Two hungry hearts under the gun

Her voice cracks a bit, in a charming way. It must be radiant when heard live.

In the heart of the night

When we find each other

Were stealing love on the run

In the heart of the night,

Heart of the night

A small smile plays on John’s lips as the song fades out. They’re good, he muses to himself, a bit intrigued by the song and Fred’s colorful description of the accompanying video.

“A great voice indeed. They’ve got a strong sound going.” Brian chirps up.

“That’s her first swing at writing, too. Wish it had been that bloody easy for us.”

“Is she a looker, Fred?” Roger wags his brows.

“Oh please, they’re practically babies! Although that drummer of theirs is certainly something to write home about… Even with the head of hair he has. A bit like a mushroom. A cute one.” Freddie ponders, stroking his full mustache.

John reaches up and pats the tight curls atop his own head, wondering how it would look if he ceased from trimming his current short perm.

“I do hope they catch on here. What fun that would be.” John readily nods along without realizing it.

Freddie switches off the radio and turns back to the other three men. “Alright back to it then. Queue it up, Mac,” placing a hand on the man’s shoulder and raising his eyebrows. “Shall we?”

- - - - - - -

March 1982 - Columbia Records, New York City

“Why are the undersides of my knees sweaty? I’m not a back of the knee sweat kind of guy, alright?” Lawrence fidgets, adjusting his collar for the fourth time in two minutes.

You casually gulp down your third glass of water while staring at the wood-paneled walls of the office. Attempting to avoid the gazes of a number of gold discs lining the walls, the echoes of your musical idols. They seem to be laughing at you.

Steve partakes in his trademark bouncing routine, the chair underneath him squeaking in a violent rhythm. “Do you think it’s the video? It has to be the video or we wouldn’t be in this office. I knew we shouldn’t have taken that big of a risk right out of the gate.”

“You gotta be kidding me. You basically doused yourself in the blood when Eddie pitched it!” Rich cuts in, his usual calm demeanor nowhere to be found.

“What! It was your idea for the--”

The door behind where the group is gathered swings open and in strides a stocky man with a full beard and tinted aviator sunglasses still covering his eyes.

“What are we all standing around for? Sit, sit, sit, c’mon.” His gruff Brooklyn accent ringing out as he moves to sit behind a large mahogany desk.

The Limbs scramble to fit on the couch across from him, with you ending up perched on the armrest, gripping Rich’s bicep for support.

The man, Walter Yetnikoff, CEO and Chairman of Columbia Records, grunts as he eases into a leather chair, finally removing his glasses, revealing surprisingly kind eyes, “Jeez louise, look at you kids. You look as if a nun just caught you all playing with each other’s junk. What’s with the faces?”

“Mr. Yetnikoff, we’d like to sincerely apologize for the backlash that has come from our video. We should’ve known better than that. We could’ve toned it down… a lot.” Eddie rushes out. He wipes his hand over his too-snug tailored pants, probably leftover from days of youth choir.

Walter barks out a laugh. “I’ll admit I was a little shocked to find out that’s what you needed a high school gym for, but relax a little, will ya? You’re not here to be scolded. If I didn’t like it, I wouldn’t have fought so hard to get it airtime.”

The Limbs visibly relax- a tad, but their eyes all stay wide.

“Well aren’t ya gonna ask why you’re all here then?”

“W-why are we here?” Rich asks quietly. “Sir.” He adds.

“It seems that the slight PR crisis of a video you made has made its way across the pond,” Walter smirks.

“You mean…” Steve trails off in a voice two octaves higher than usual.

“You kids better like air travel because there’s gonna be a lot of it in your near future. The hit has broken into the London airwaves and they’re not as god fearing as viewers here seem to be. We’re sending you over there next week now that you’ve wrapped up the tour.”

“Holy shit!” Lawrence yells. You feel yourself falling back off your perch as your large friends all jump to their feet. Rich’s gangly arm luckily catches you and pulls you immediately into a suffocating hug. “You did this, Bunny!” He screams in your ear. “You did this!”

“Alright, alright, you can all go celebrate and drink your faces off in a second,” Walter calls out over the group who immediately shut their mouths. “We have a few details to iron out but I’m hoping to send you over there for a full press tour. Photoshoots, interviews, talk show appearances. The works, you got it.”

Steve lets out a squeal of delight, his voice not yet returning to its usual bass.

“You.” He points a stubby finger in your direction. “I’m waiting to hear back about a last-minute cancelation on some game show out there. We’re gonna try to get you in. You know your shit?”

“W-what kind of shit, sir?” You ask from the bear hug that Rich still holds you in.

He holds up his hands, gesturing to the gold discs that surround him. “Music, my dear.”

All you can do is nod, not wanting to think about what that even entails.

“That’s what I like to see. Now get outta here so you can all combust somewhere outside of my office. We’ll call you in a few days. Get those bags ready, you hear me?” He waves you all off.

Before you have a chance to say anything, the boys are sweeping you out of the room. And off to the start of whatever comes next, you guess.

#queen fic #queen fanfiction #queen fanfic #john deacon #john deacon fic #john deacon imagine #john deacon x reader #john deacon series #deaky fic #deaky x reader #deacy fic #deacy x reader #angelofmydreams

40 notes · View notes