#source: fader

[tayfabe75]

Tell me about growing up in Newcastle. I grew up on a cow farm in the middle of [north east England county] Northumberland. My mum and dad were both from Newcastle, and my dad had just finished [acting in British ‘80s comedy drama] Auf Wiedersehen Pet, which was massive—and because it was so political, and all about the subsidisation of industry and Thatcher’s Britain, that you walk round the north east with my dad now and he’s a hero up there. He was knocking around with Thin Lizzy and [Dire Straits’] Mark Knopfler! I wasn’t socially isolated as a kid but I was an only child—so there were a lot of video games, a lot of Michael Jackson videos, a lot of singing and dancing to myself and self-involvement. Did you like being by yourself? I’ve always liked being by myself. I grew to like it less when I was older. And then I convinced myself for a long time that I liked my own company, but I actually just quite liked being on drugs and didn’t really like my own company at all. Did you take drugs by yourself? Oh yeah. Oh yeah! Every pursuit of mine is very indulgent and personal. That sounds like a dark thing to say; my indulgences are always private things. I used to like thinking and writing on drugs. I thought I was William Burroughs, know what I mean? Anyway, when I was ten I moved to Manchester when my mum got a job on [British soap opera] Coronation Street. I spent my whole teenage years there—went to school there, met the guys when I was 14 and we’ve been in the same lineup ever since.

February 26, 2016: Matty describes his early childhood and how he spent a lot of time alone growing up. (source)

[alientitty]

"you wouldn't download a car" bruh i got my boss downloading replacement parts for the gear at work

[stoneyocean]

Michigan summer

What is your favorite type of weather? Michigan, summers be like. A good day to be out on the lake type weather. But only 2 and a 1/2 months of it, then here comes Fall then Winter. 🌞🌈❄️

[dio-the-thot-exterminator]

Cupcakke X The FADER - Cupcakke Source: Instagram

[just-made-to-comment]

There is no pagan version of Arthurian legend.

There is no pagan version of Arthurian legend. The oldest mention we have of Arthur is from the 6th century at the EARLIEST. That is already post christianisation. However, some stories do include pagan gods or euhemerised versions of them.

However, there is a polytheïstic version. Diu Crône has multiple deïties that exist within its pages, like Lady Fortune, who may be Fortuna, her son Luck. She is explicitly called a goddess, and rules Ordohorht. Giramphiel also is a goddess, and is a villain, opposing Gawain. Throughout the pages of Diu Crône, Lady Fortune acts as a sort of patron deïty of Gawain. Gawain is a polytheïst, and polytheïsm is true within the narrative of Diu Crône. However, Jesus is also praised by characters who know Lady Fortune is real. This suggests that the narrative of Diu Crône is Christopagan in terms of lore.

Then let's talk about the work that started it all: Geoffrey of Monmouth's Historiä Regum Brittaniäe. Geoffrey includes the goddess Diäna in an earliër bit of his book where Brutus of Troy sails to Britain, beïng one of the first people to ever go there, and also founds London, calling it "New Troy." In this bit, he has a vision after sleeping in her temple that commands him to go to Britain and found a city.

Next, euhemerisation is the origin of a few characters. First, Mabon is Maponos, he shows up in "Culhwch and Olwen". Modron is also clearly Matrona. If you apply the sound changes from the Celtic language these names come from, Maponos becomes Mabon, and Matrona Modron. Then, Griflet is probably Gilfaethwy. His father, Do, is just Dôn in French, who is equivalent to Danu. Ydier's father is just what "Nodens" becomes in Welsh, (Irish Nuada). These are a bunch of originally gods but in the story they are mortal humans.

If you've ever read Sir Orfeo, you'd know how they refer to the Greek gods:

His fader was comen of King Pluto, And his moder of King Juno,    That sum time were as godes yhold For aventours that thai dede and told.

Also this is basically what Saxo did with Norse Mythology. This happened within Welsh sources too in the case of Arthurian legend. Culhwch and Olwen is a Welsh source, and yes he does show up as Mabuz in Lanzelet, so he's not some Welsh-exclusive figure like Culhwch. There's a bunch of weird stuff in Welsh Myth. Math fab Mathonwy baptises people. He is also around when people first get pigs from the fairies, so that would place it roughly 6,500 BCE as when Math is ruling Gwynedd.

The stories of Arthur are set at the very least after 410, because it has to be after the Roman withdrawal, and before 700, because by then the Anglo Saxons had already marched past the Severn which is the western border of Logres, which is Arthur's kingdom, although Pengwern was actually east of the Severn and they fought against the Loegrians according to Canu Heledd, but then again that's further east anyways, so that should just push then end time back further. Look, apart from Monty Python, it's always Sub-Roman Britain. By then it was thoroughly Christiän, yes, there was some paganish beliefs, but that would probably be categorised as folk Christianity which is still Christiänity, and people believed in fairies but fairies were conceptualised in a Christian cosmology where they basically were between heaven and hell in some way.

Actually. There probably is a pagan version written by somebody in the modern day. People never stopped writing it, and it's basically fanfiction all the way down anyway.

[kuliak]

Harsh hard sync and AM sounds.

Doing Waver better justice than in the last case with it here, using two oscillators to just push each other around with all sorts of cross patching. Cold mac takes a few CV sources in to act as a drifting macro controller. Now that I've started to patch it as such, I've started to identify a performance style I fall into, responding to said drift. The faders on Waver and Ikarie really lean into this - of course while any knob can be wiggled, some modes are more conducive to this than others.

Again on the performance side, I continue to use mutes on the Acid Rains to create breakdowns and builds. When I feel like more formally structuring a song, I need to create distinct A/B sections that I can switch around rather than fully cutting something out. Hopefully the next firmware update (allegedly in the works from the modwiggler thread) will include the multi-mute-dropping I've seen a handful of users suggest. Even without it though, banger modules.

[bivouacrecording]

The Instrument : Part 2: Components

<- Go to Part 1

Cables

The veins and arteries. As is tradition with any new idea I have, I make new cables. Mostly because the cables I made previously were all custom that the lengths or connectors just cannot be used anywhere else. Coming off of the relay box, I kept the solder gun warm and went straight into making cables. I used Canare wires and Yongsheng connectors. Easy to source for me and good quality.

I never made a MIDI cable before and believe me, they look really beautiful with these metal connectors (see above).

I made a total of 37 analog/midi cables.

I also made:

Four 10 pin remote control cables for the Revox units.

One 15 pin extension cable for the Fostex D2424

One DB25 AES I/O cable for communication between the DM1000 and SPX units.

This makes a grand total of 43 finished cables, 93 connectors, and about 90 meters of cable. All93 heat shrunk and perfectly made. 93

You can b93elieve me when I say 93 that I was counting 93down Every. Last. One. 9.3.

Phew. 93

Of course after you finish with something, you always think of how it could be better. After connecting it all up, I am really wanting to have a more polychromatic palette of cables rather than just a rat's nest of black (boring). Maybe I can sell the black cables and make a more colorful back-end (gulp).

MOTU Midi Express XT

So now I needed something to manage the MIDI messages between all of my equipment. I have used MOTU software and hardware for 20 years and their MIDI patchbays were always affordable and reliable so I found a used one for a reasonable price and wired it up. 

In my research I found this article and decided MOTU was the way to go.

RME Digiface USB

Connecting the DM1000 to the computer took a bit of consideration.  I knew that once the audio was converted in the DM1000, I wanted it to stay in the digital domain wherever it went until it was output again. So I needed a multichannel USB interface that didn't take up another rack space and had a reasonable cost. I didn't need any other preamps or other extra things, just a digital I/O. The RME was the best solution and had the best reputation. This was the only thing that I bought new.

The DIGIface has 32 digital I/O via 4 banks of ADAT I/O which allows me to input/output sound from the computer (to the recorders) and manage the audio routings throughout the instrument using the included RME TotalMIX software. Every single connection was used like it was made just for this.

Tech 21 NYC Midi Mongoose

A small MIDI foot pedal that can output 128 MIDI program change messages. So far I have programmed it to start the Freeze layer playback in each internal effect. The foot pedal is a bit fiddly when you want to go from say, 3 to 65, but it should make you arrange the programs in such a way that makes it easier for you. To make it more dynamic and user friendly, I will program more functions in the MIDI translator program.

Speaking of which...

Computer and Software

This is the climax of this post. At least for me. Best take a seat for this one. <br><br>

Welcome to the Brain. The computer exclusively manages all MIDI and audio routing.  For the MIDI translator, I use Bome MIDI Translator PRO (BMT). An amazing program that allows you to translate anything to anything (really, i mean it) and more.

I hired the Bome forum moderator, Steve Caldwell, to help me make a program using BMT that remembered the fader, button, and knob positions between each USER DEFINED layer on both REMOTE layers. The USER DEFINED layer on the DM1000 has 4 banks but they are only overlays that are meant to be used one at a time. With this custom program, I now have a total of 8 INDEPENDENT banks over two REMOTE layers (384 controls total) that can be recalled with a button press and be used to control anything via MIDI. This was not how Yamaha intended it but this is the kind of power MIDI can have.  This rack mountable DM1000 just got a whole lot BIGGER.

[Techie side note: The only drawback for this is that you cannot exclude (Recall Safe) these faders from a scene change like you can for the top level faders. Still searching for a solution or workaround...]

As an example, I mapped all of the parameters of each SPX2000 unit AND all 4 internal effects to the faders and knobs allowing live control of multiple parameters at the same time in any combination using BMT. The controls can also be automated with the internal automation on the DM1000. The sky's the limit.

I should add that even on the top layers, each control for the audio channels 1-48 (faders, knobs,  buttons) can be used exclusively as a MIDI controller (no audio thru the channel) or mixed together (MIDI fader next to an audio fader) side by side, as desired. For example, I am using faders 9-16 to exclusively send MIDI messages to control the A77s (for now). Additional buttons (72 buttons) can be programmed on the USER DEFINED KEYS section. So taking all of this into account, you can have a grand total of 600 controls* for other MIDI instruments from a single console. (Not counting all the other function buttons on the console that transmit MIDI. Even the headphone level knob sends MIDI!)

* Note: I think there is a limit with the amount of unique MIDI messages that can be programmed, but using BMT you can program a computer keystroke to control software, use SysEx, and so on.

Studio

Okokok. Deep breaths.

I had to get some furniture to put all this stuff. I had a custom table made per my specifications and  got rid of all the old furniture (green desk).  For monitors, I bought a pair of JBL Studio 2 speakers. These are powered by my old, underused Yamaha Hi-fi amplifier (RX-V357) and subwoofer that I woke up after a very long, dusty, moldy, sleep in storage.

The JBL speakers are designed to be recessed in a wall but I custom made an aluminum enclosure for them and hung them on speaker wall mounts. This was a cost saving measure but also a space saving one, as these speakers are not as expensive, deep, and boxy as a typical monitor.

I opted for a standing studio to practice a 'live' performance. After so much soldering, I really didn't mind standing and its good practice for the future. I found I move faster that way, though I do have to take breaks more often. I had to put the DM1000 on sturdy packing paper boards to prop it up.

Sonosax Mini R82

My trusty Sonosax. This and my other recorders, are the breath that give this instrument life. I don't create sound.

I made a new custom cable that connects to the digital stereo out of the DM1000 for quick sketches and stereo recordings. At the end of the day I take it on the road to listen to the daily recordings and take notes.

Fostex D2424 LV

Last but not least. This was the last thing I bought. It was pretty much a new unit and very reasonably priced for a 24-track recorder. I only needed to get a compatible HD, replace the lithium battery, and change the FAN which was SO noisy. I replaced it with a Noctua NF-A8 ULN (Ultra low noise) and now it lives silently under my desk. If you have one of these HD recorder units, I HIGHLY recommend this upgrade. I found out that the reason that the fans are so loud is because the unit does not have a thermometer that regulates fan speed. So the fans are just running at its maximum speed all the time, hence all the noise. With research, I found that the Noctua was one of the quietest fans on the market at its highest RPM.

I remember these Fostex units way back when and it was the remote that caught my eye. All of the controls and display are contained in a removable unit that can be extended and used as a remote control. I contacted Fostex and their great customer service answered any questions I had with this long discontinued unit. I have my eye on another one just for parts for the future.

The D24 + DM1000 will essentially be my DAW. To tell you the truth I have been on the fence about using this. On one hand it's a solid piece of equipment. On the other its discontinued. I reassure myself saying that many people still use vintage synths so this should be no different, no? I assume, vintage synth owners always have something in the back of their mind hoping that their synth doesn't die before they sell it. Even the A77 has a better chance of lasting longer than this unit (and it has). By using a computer it will be future proof but it also has its shortcomings. In any case, since the DIGIface is managing the audio via my computer, I can also use my DAW to playback and record files if needed. I guess it is reassuring that these equipment are built within their capabilities so there will be fewer surprises during use. I have evolved to embrace and enjoy the fleeting nature of sound, maybe I should also embrace and enjoy the finite life of recording equipment.

There is some housekeeping that needs to be done with this machine. The HD is cloned to another one after each session and also backed up on a computer. NOS compatible hard drives for the unit are still easily bought at the moment. I'd better stock up. The manual is very extensive and a little crazy at times, but easy to read. Once you start using it, it gets pretty easy and there is just something about pressing a physical click-y button that just makes things more fun. The audio can also be recorded in real time to a DAW.

One thing is that new HDs need to be formatted in the unit before use. This takes FOREVER. 160 GB took about 12 hours to format. So its best to format all your HD ahead of time to save time. I probably didn't need to get the 160GB HD. I think 40 or 80 GB would have been more than enough for me.

Special Mention:

Deity V-Lav Microphones

In my recent recording tests, I realized that although you can hear the tape machines in a 'live' setting, you miss this experience in the audio recording. This means you cannot distinguish the edits recorded to the tape and the edits made by stopping/ starting the machine. I tried several options from mounting microphones on stands, or on the desktop but they were in my way and were going to be pretty expensive if I got 4 of them. I needed a smaller, affordable solution.

I had made some videos for Deity a few years ago and they gave me a sampler of all their microphones at the time to try out. The D2 and D3 are great short shotgun microphones and great for field recording. They also gave me one V-Lav and I was amazed how easy it was to use. Its built-in 'smart' power supply means you can plug it anywhere which is great because some pro lavaliers usually require a 10V phantom supply via a special adapter.  I gave my contacts at Deity a ring and asked if I could have some more for my new sound project. They graciously sponsored 3 more microphones and D-XLR adapters for the project. Now the recordings all have the tape machine sounds which indicate stop/start of the audio and a sense of movement. I know you haven't heard any sounds yet but trust me it is just the right touch.

Which brings us back to...

Today. One year after our journey, and the beginning of a new one. As you can see the amount of thought and hours put into creating this instrument were many but worth it. I feel that it is truly an extension of me and reflects the way I think and move.

Stay tuned for sounds, articles, and videos of how this instrument evolves as well as a more in depth look at how I configure my components and creation process.

Thanks for reading!

In Winter 2021 I was able to finally present this instrument to the public during the Vital performance in Shanghai. Read about it here.

[greendragonette]

Valheim: empty seed

Just discovered there's such a thing as an empty seed in Valheim, and it's actually pretty good - especially if you don't mind sailing.

After defeating Eikthyr (altar in a spitting distance from spawn) you can hug the west coast and brave just a thin(ish) strip of black forest for a swamp demo where you just might get some hoe iron (sadly no crypts, but oozers should still spawn at night), and bloodbags for early fenris armor run (don't forget to destroy doors and braziers for metal), which will make fighting Elder funny. If you got enough iron for a pickaxe, you're easily in a silver tier before the second boss. His island also hosts dwarf spawners, if you forgot the seeds, a possible honey source if you left your beehives at home, more cores and forest metals for smelting, and waters around it may get you a harpoon or a knife. Not a bad place for a transit base.

From there it depends on your playstyle. The continent above Elder island has two maypoles (the closest ice cave also has fish, and just a stone throw east is a draugr village), easy swamps, Hildir, Moder and just a taste of plains with a quick hit-and-swim-away Bonemass. You get totems from pole continent, hugging the coastline sailing south from Bonemass or whichever place you want to fight Yagluth. There's two Queens not far from each other (the second one is just above "share seed" button if you want extra trophy)

If you prefer mid game be more struggle and epic prep, or just for traders to both be on the same continent, sail south. Moder's here, but Bonemass and plains everywhere will give you more headache:

From there it's a long sail to Yagluth and even longer to Queen, but the island south of Traders' Island is a great place for pre-Ashlands - four useful biomes and hot tub water so close you can fish steam serpents almost from your front yard pier. Good for early fancy stone stuff, too:

Ashlands are solid. Thirteen fortresses on middle island, first one quite close to dwarven refuge for an easier start. More dwarven camps on various shores, and Fader also settled close to water if you need to make a sail of shame:

Decent flametal spires for all the lovely builder freaks (or people very unlucky with fortress loot RNG):

And, just for fun, a shot of morgen caves (look how regular they are!):

Dunno if it makes for a fun immersive run, but certainly it has good potential for a regular one.

[charlesmwa]

The Role of Mixers in Live Sound: A Comprehensive Overview

Imagine standing in the middle of a concert, surrounded by the perfect blend of instruments and vocals, every sound complementing the other seamlessly. This magic doesn’t happen by accident—it’s the work of a mixer. Mixers, often referred to as the heart of live sound systems, play a pivotal role in ensuring every performance sounds flawless. Whether it’s a small gig at a local café or a massive stadium concert, mixers are an essential part of live sound setups.

Let's understand what  mixers do, why they’re important, and how they bring live performances to life. Whether you're an aspiring sound engineer, a musician, or simply curious, this comprehensive overview will break it all down in simple terms.

What is a Mixer?

At its core, a mixer is a device that takes multiple audio signals—like vocals, guitars, keyboards, and drums—and blends them into a cohesive output. Think of it as the control center for all the sounds in a live performance.

Mixers allow you to:

Adjust the volume of each input (like turning up the vocals or lowering the bass).

Shape the sound using equalizers (EQ) to balance frequencies.

Add effects like reverb or delay to enhance the audio.

Route signals to different outputs, such as speakers, monitors, or recording devices.

Whether you're using a compact analog mixer or a high-tech digital console, the principles remain the same: taking raw sound and refining it for the audience's ears.

Why Mixers Are Crucial for Live Sound

1. Balancing the Audio

Live performances often involve multiple sound sources—vocals, instruments, backing tracks, and sometimes even crowd noise. A mixer ensures that no single element overpowers the rest, creating a harmonious balance that’s pleasant to listen to. For instance, without a mixer, a loud drum kit could drown out a singer's voice, making the performance feel chaotic.

2. Customizing the Sound

Every venue has unique acoustics. What sounds great in a small indoor space might not work for an open-air festival. Mixers allow sound engineers to adapt the audio for different environments. By tweaking EQ settings, they can reduce echo in large halls or add warmth to a cold-sounding room.

3. Providing Real-Time Control

Live performances are unpredictable. A singer might step away from the mic, or a guitarist might accidentally play too loudly during a solo. With a mixer, sound engineers can make instant adjustments to keep everything running smoothly.

Key Features of Mixers

When exploring mixers, it’s important to understand their features. Here are some key components that make mixers so versatile:

1. Channels

Mixers have multiple channels, each dedicated to a specific input (e.g., a microphone or instrument). Small mixers might have 4-8 channels, while larger ones can have 32 or more. Each channel has its own controls for volume, EQ, and effects, giving you granular control over individual sound sources.

2. Equalization (EQ)

EQ lets you shape the tone of each input. For example:

Boost the treble for a brighter vocal sound.

Cut the bass to reduce rumbling noises.

Adjust midrange frequencies for clarity.

EQ is essential for ensuring that all elements in a mix complement each other without clashing.

3. Aux Sends and Effects

Auxiliary (aux) sends allow you to send specific audio signals to different destinations. For instance, you can send a mix of vocals and instruments to on-stage monitors so performers can hear themselves.

Many mixers also come with built-in effects like reverb, delay, and compression, which can add depth and polish to the sound.

4. Faders and Pan Controls

Faders control the volume of each channel, while pan controls adjust the stereo placement of a sound. For example, you can pan a guitar slightly to the left and a keyboard slightly to the right for a more immersive stereo effect.

5. Digital vs. Analog Mixers

Analog Mixers: Known for their simplicity and tactile controls, analog mixers are a great choice for beginners or smaller setups.

Digital Mixers: These offer advanced features like presets, wireless control via apps, and the ability to handle complex setups. They’re ideal for larger venues or tech-savvy users.

How Mixers Enhance the Audience Experience

A well-mixed performance can transform how the audience experiences live music. Here’s how mixers contribute to a great show:

Clarity: Mixers ensure that every instrument and vocal is heard clearly, even in a crowded or noisy environment.

Energy: By controlling dynamics, mixers can make the music feel more powerful and engaging.

Emotion: Effects like reverb and delay can add atmosphere and emotion to a performance, making it more memorable.

Tips for Using Mixers Effectively

If you’re new to mixers, here are some practical tips to get started:

Start Simple: Focus on getting the basics right—like balancing volume levels—before diving into advanced features.

Learn to Use EQ: Understanding how to use EQ can make a huge difference in the quality of your mix.

Practice in Real Settings: Mixing in a live environment is different from mixing in a studio. Practice in different venues to get a feel for how acoustics affect sound.

Invest in Quality Gear: A reliable mixer can make your life much easier, especially during live performances. Purchasing from reputable audio shops ensures you get equipment that’s durable and built to perform.

Conclusion

Mixers are more than just pieces of equipment—they’re the bridge between raw sound and a polished performance. By understanding their features and functions, you can unlock their full potential and deliver a live sound experience that captivates your audience.

Whether you’re a performer, a sound engineer, or just someone passionate about music, investing time in learning about mixers is well worth it. After all, great sound doesn’t happen by chance—it’s the result of careful planning, skilled mixing, and quality equipment.

So the next time you’re at a concert or gig, take a moment to appreciate the mixer and the person behind it. They’re the unsung heroes making the magic happen!

[tayfabe75]

Can you talk me through what happened last year, when you deleted all your social media accounts and everyone thought The 1975 had split up? Did you think you’d split up too? Oh no. Oh, it was all very clever. It was very much for the fans. Like everything we do. One misconception that annoys me is that we have a marketing team. It’s me and it’s Jamie [Oborne, the band’s manager]. Always has been from day one. This thing that turned into a press stunt or a PR stunt—‘ooh, they’ve disappeared, they had all their people do this thing for them’—well that just came from me sat smoking in my flat. Everyone says things like ‘we need to make noise.’ That’s everyone’s favourite word: noise. We were talking about putting the new album out and making sure people knew, so I was thinking that desirability is more potent than obtaining something. I thought, I might just do it now. Turn off the internet. So we had ‘the removal,’ and everyone went fucking mental. And more noise happened. Was there another end game beyond just making noise? I mean obviously it seems like a bit of an elaborate prank but it was a way of playing with the internet. We weren’t being melodramatic; it was the best way to reinvent. It’s an extreme act, to play with your fans like that. I suppose religions would say it’s testing their faith, do you know what I mean? Giving them a hint of the idea of a life without The 1975. Why would you want to do that? Because I knew it would be the most effective way for people to express how they truly feel about us.

February 26, 2016: Prior to the release of 'I Like It When You Sleep', Matty describes wiping The 1975's social media as a chance to 'reinvent'. (source)

[seasurfacefullofclouds1]

https://www.tumblr.com/eminentzayn/133426168731?source=share

Thoughts?

I read the whole article from Fader to put this quote into the context of everything Zayn said.

Interesting paragraphs:

So you can see in the article that Zayn’s transition to RCA was brokered by Simon Cowell and he really didn’t have a choice but to sign on with a Sony label.

The next paragraph discusses the impact of Zayn’s leaving on the relationship with 1D fans. What’s left unspoken in the article is the fact that Zayn not only has to worry about the fans’ support for him, but he also needs to feel responsible for fans not leaving the rest of One Direction.

While the plastic may be off, saying goodbye to One Direction’s billion-dollar brand and global fan base means that as a solo act, Zayn will likely reach a significantly smaller audience. “A big part of why I left the band is I made the realization that it wasn’t actually about [being the biggest] anymore,” he says, unconcerned. “It wasn’t about the amount of ticket sales that I get. It was more about the people that I reach. I want to reach them in the right way, and I want them to believe what I’m saying. I’ve done enough in terms of financial backing for me to live comfortably. I just want to make music now. If people want to listen to that, then I’m happy. If they don’t want to listen to it, then don’t fucking listen to it. I’m cool with that too. I’ve got enough. I don’t need you to buy it on a mass scale for me to feel satisfied.���

Zayn — and all 1D ex-members— really cannot say anything that takes away the marketing value of 1D.

Now read the entire paragraph in context:

That’s not to say that he’ll never work with his former bandmates again. In old interviews and even in the note announcing he was quitting, Zayn always expressed a desire to remain “friends for life” with his former bandmates. So it was surprising when only weeks after his exit he got into an argument on Twitter with Louis over someone’s poor choice of a photo filter. I ask him where he and the group stand now. “I spoke to Liam about two weeks ago,” Zayn says. “It was the first time I’d spoken to him since I left the band, and I rung him, and he wanted to talk. He said that he didn’t understand it at the time, but he now fully gets why I had to do what I did. He understands that it’s my thing, that I had to do that, and that basically he wants to meet up and sit down and have a good chat in person, and he wants to do some music and work on some stuff aside from being in the band, which we always wanted to do anyway.”

You see how Zayn has framed the 1D relationships as Louis versus Liam. This means that Zayn can avoid discussing anything about Louis— he has skillfully swerved from disagreements, motivations, fights that framed the end of 1D and the reasons for his exit. This interview made it seem as if his leaving was entirely motivated by Zayn’s unhappiness with lifestyle and music genres (which wasn’t true). Remember, at the time of this interview (November 2015), 1D hiatus had been announced, but fans had been promised that they would come back. Zayn swung the discussion toward the most anodyne, neutral person in the band, to Liam— a neutral figure in the Harry-Louis-Zayn end-of-empire divorce.

The reason for that wasn’t any particular fondness for Liam (although Zayn surely felt affection for him) but because Liam wasn’t involved in the ugliness of the split.

[stoneyocean]

I Get The Paper

Untitled What yall think about my flow to this (cover) song I Get The Paper? Join the wave 🌊 Subscribe to here the full cover. Thank you

[dio-the-thot-exterminator]

Cupcakke X The FADER - Cupcakke Source: Instagram

[abedofroses]

Barns Courtney - 'The Cat Came Back' at Fader Fort SXSW (2016)

Barns Courtney plays 'The Cat Came Back' for the kids & teens on MyMusicRx

MyMusicRx delivers the healing power of music to kids and teens facing cancer and other serious illnesses

(Source)

[aaliyahunleashed]

Born Jomo Kenyatta Hankerson on September 26, 1969 (son of Barry Hankerson / CEO of Blackground Records)

In his earlier childhood, Jomo was trusted with the task of walking young Aaliyah and Rashad home from school when their mother couldn’t; they lived five (5) blocks from each other. Aaliyah grew up with many pets, including ducks, snakes, and iguanas. Her cousin Jomo had a pet Alligator (which even Aaliyah felt was a bit much).  

“I was in my last year at Pepperdine University when we started Blackground records in ‘91”, Jomo shared with Fader Magazine ( back in 2011).

After the R.K scandal, Jomo didn’t feel it was fair that the public villainize Aaliyah and ultimately, they felt they were blackballed from the music industry because of how difficult it was to get producers for the sophomore album. 

When Lifetime did their disgraceful Aaliyah biopic movie, Jomo shared the similarities he saw Zendaya going through that Aaliyah went through and shared with V103 that (like Aaliyah), “She’s just trying to get a job and just work, it’s not her”. 

When asked who he thought should play Aaliyah instead, Jomo responded, “I would love to get Zoe Saldana”. He continued saying, “I think she could pull off the acting part and she’s obviously gorgeous and beautiful”.

In Christopher John Farley’s 2013 book ‘Aaliyah: More Than a Woman,’ Jomo shared that the collaboration between Aaliyah and Trent was challenging to arrange due to their conflicting schedules. ⁠ ⁠ “They did get a chance to meet, they did not get a chance to work together. But Trent, creatively, is a very deliberate cat, and they were never able to coordinate schedules. And when Aaliyah's movie career took off, it made it really hard for us to find the time and coordinate with Trent. She was excited to meet him, and she told me afterward that he was absolutely as incredible as she thought he would be when they met,” Jomo shared.⁠

There is little to no other information on Jomo Hankerson's personally life (wife, kids, etc).

Source: Google, Wikipedia, Linkedin, Tumblr, IMDB,  and Getty Images. 

"I remember that once Rashad and Aaliyah got to Detroit, that Aaliyah and Aunt Diane would always be around the house singing. Growing up, Aaliyah would sing the whole Whitney Houston album" - Jomo Hankerson on growing up with Aaliyah.

[emystic-old]

🐝  *  ―  𝑭𝑶𝑹𝑻𝒀 𝑹𝑨𝑵𝑫𝑶𝑴 𝑸𝑼𝑬𝑺𝑻𝑰𝑶𝑵𝑺. / Accepting!

@kitxkatrp sent a letter to Mika: ❛  what happened here? where is all that smoke coming from?  ❜ Anne to Mika (aka his adopted sibling he's never actually interacted with)

The toddler was sitting a mess of his own making covered in flour, milk, and mashed berries. The child decided on a whim that he wanted to surprise everyone with big tasty meal. He was going to make one of his favorite meals, hot cakes with berries and milk. He just have to figure out how to do it. His mother always made it look so easy, like tasty meals were magic.

He managed to climb around the kitchen and even figure out how to turn on the stove to boil kettle. The pot spilling out so much steam, bubbling as the fire could be seen close to engulfing the heat source. His adopted sister gave him a bit of a spook, it was suppose to be surprise. Now she's going know, not realizing how much danger he actually made.

"Anne! It was suppose to be a surprise for you and Fader and Momma---see?" Pointing at the red hot, steaming pot that was close to burning.